A MIDNIGHT CLEAR

US, 1992, 108 minutes, Colour.
Ethan Hawke, Arye Gross, Gary Sinise, Peter Berg, Kevin Dillon, Frank Whaley, John C. Mc Ginley, Larry Joshua, Curt Lowens, Rachel Griffin.
Directed by Keith Gordon.

A Midnight Clear is a World War II film, coming rather late in the day, almost 50 years after the events portrayed. However, there were still many World War II films to come, in the late 1990s, Saving Private Ryan and The Thin Red Line. Almost 20 years later, Mel Gibson made the very striking Hacksaw Ridge.

This film is based on a novel by William Wharton, notable also for the film version of Birdy (and also Dad). Wharton shows something of the sardonic view of war by such authors as Kurt Vonnegut.

Actor-director Keith Gordon has adapted the novel for the screen and directed it, one of his earlier films and then he was to move into a substantial television directing career.

The setting is the Ardennes in December 1944, a group of Americans, wary of German groups, encountering some Germans who are feeling the same as themselves and setting up a situation where they could take the Germans prisoners freely and the Germans then would be safe from German reprisals. This is a reminder of the films where enemies were able to share common humanity as in the French film about World War I, Joyeux Noel. However, the best laid plans…

The film has a strong cast of young actors many at the beginning of their careers including Kevin Dillon and Frank Whaley. Arye Gross is the Jewish soldier. John C.Mc Ginley is the single-minded former mortician, commander. However, most of the action centres on Ethan Hawke as the leader of the group, on Peter Berg, actor at that time but to go on to be quite a significant popular Hollywood director, and Gary Sinise as a soldier with mental and emotional problems.

The film is well worth seeing and reflecting on.

1. A World War II film from the 1990s? The novel by William Wharton? His own experiences? Based on a true story?

2. The work of Keith Gordon as actor and director? The eccentric characters he played, the offbeat themes of his films?

3. The young cast, convincing as characters and in the light of their subsequent careers?

4. The opening credits, the European countryside, 1944, the scenery, the homes, the camps? The winter season? The musical score

5. A film about a small group, authorities, their interactions, activities, in war, deaths, survival, plans and deceptions?

6. The narration by Will, about himself and his background, family, his nickname? His explanation of each of the members of the group, their being visualised? The intelligence group, losing half the men? The mission?

7. The opening with Mother, the primal scream, running through the snow, stripping, in the stream, Will following, picking up the the clothes, talking with Mother, the story of his new baby and its death, grief, mental condition, Will wanting to get him out of the action?

8. The other members of the group: Shutzer and his Jewish background, anti-Nazi? Miller, the Aryan look, his role in the group? Father, the background of his being in the seminary, not continuing, yet his prayers and scripture texts, his reason for leaving the seminary that he was not pure enough to be a priest? Mel, his background, action?

9. The flashback, the discussions about sex, virginity, looking for the prostitute, the caution because of the documentaries about VD? The hotel room? Their waiting, nodding off? Finding Janice, her story, her dead fiance, her being willing to have sex with each of the men? Their accompanying her to the bus station?

10. Griffin, mortician, taking himself very seriously, orders above, orders to the men, his not having good reasons for his decisions, the six going out as an intelligence gathering group? The deaths? The return? Reporting to Griffin? His information about the house, not knowing whether it was occupied, sending the six out, the jeep, there to stay and give information? Phone connection?

11. The six men, going together, the spirit between them? The jeep? The winter countryside? Finding the house, the caution, going in, deserted, the wine and the sardines, the artwork? Settling in? Enjoying it? On guard duty? Hearing the noises, suspicions of German presence? Mother and his mental condition? The decisions, the men deferring to Will?

12. Shutzer and Will, hearing the Germans, sighting them? The group and the confrontation by the three Germans, surrender, the disappearance? Puzzle?

13. The Germans appearing, their attitude towards the war, the Germans being defeated, the plan to surrender? Shutzer and his negotiations, able to speak German? Will and his hesitations, being persuaded? The Germans wanting the officer in charge, Miller and his being prepped to be the officer? His manner, walk, authority? Mel and his being persuaded? Father agreeing? Their not telling Mother? Will telling the others about the incident with Mother?

14. The Germans, the officers, the young men? Negotiations, wariness, agreement? The background of Christmas, the exchange of gifts, the singing of the carols and, hymns? These incidents and their comments on the futility of war and hostilities?

15. The plan, Mother staying behind? The Germans lining up, everybody shooting into the air to give an impression of a skirmish? All going well? Mother intervening, shooting, everybody shooting, the German deaths except for one prisoner? Shutzer being wounded? Father being shot?

16. Will, tending Father as he died, Father saying they should not tell Mother what was really happening?

17. Contact with Griffin, his coming, stating that the interior of the house was a pig sty, threatening Will to be up on charges, insubordination? The lieutenant, taking away the bodies?

18. Will with Mother, reassuring him, to recommend him for a decoration and get him away – and this being achieved?

19. The scene with the group having a bath, washing the body of Father?

20. The Germans coming, contact, getting in the jeeps, the difficulties, the crash of one of the jeeps? Watching the Germans go by? Driving, finding the camp had been abandoned?

21. The plan, father spitting the blood, the getting their white gear, forming the crosses with the blood, carrying the body pretending to be Red Cross? Reporting back, Mother honoured, the rest sent to the front line?

22. The film as a glimpse of war, realistic touches, satirical touches, critique of war, critique of offices and decisions, the reality of wounding and death? The insights from a story told almost half a century after the events?

 

iSTEVE

US, 2013, 79 minutes, Colour.
Justin Long, Jorge Garcia.
Directed by Ryan Perez.

It has emerged that Steve Jobs was one of the significant creative and entrepreneurial minds of the 20th century. He has been played on screen by Ashton Kutcher as well as Michael Fassbender. Top documentary maker, Alex Gibney, also made a documentary portrait of him.

The public has always been interested in him, his achievements, innovations, setting up of Apple, his being ousted, his comeback, the developments of iPods and iPads.

It is hard to know how seriously this film should be taken and how comically. At the end, there are notes that everything in the film is fictitious!

Justin Long does quite a good job as portraying Steve Jobs, youthful and gaunt initially, grey-haired and bearded towards the end. There is an episode where attention is given to the thriller, Jeepers Creepers, which starred Long, who is then seen participating in commercials for Apple and being criticised as not being effective.

The film covers many of the episodes of Jobs’ life and career: his childhood and relationship with his father, studies and dropping out, going to India and the encounter with the Guru as well as with LSD, his working in his garage, the relationship with Steve Wozniak, their achievements, his taking the limelight, the ousting of Wozniak, his reliance on John Scully and his being ousted by him, his comeback, his final innovations.

Jorge Garcia is effective as Steve Wozniak who has been portrayed in other films by Josh Gad and Seth Rogan.

Jobs’ personal life, his relationships and his daughter are not part of this film at all.

With all the other Jobs’ films, this is much more interesting than might have been anticipated. it has a Saturday Night Live background.

1. The title? The allusion to Steve Jobs’ inventions, iPod, iPhone…?

2. Audience interest in Jobs? The feature films made about him, documentaries?

3. The tone, biographical, glimpses of Jobs’ life, facts and interpretation, pro-Jobs, critique of Jobs?

4. The structure: the older Jobs and his reflection, preparing his keynote speech, the discussions with the janitor, turning to camera, giving his life story? The casting of Justin Long (and the later interest by Jobs in the film, Jeepers Creepers, and just long been hired for commercials – not without criticism)? Going back to his childhood, his relationship with his father, his studies, dropping out, going to India, the discussions with the Guru, the LSD tabs? At work in the garage, creating the new board for the computer? Steve Wozniak, meeting him, working with him, their successes? Interviews and Woz being edged out? His large staff? The photographer and her wanting Jobs alone? The encounter with John Scully, the background of Commodore? Giving him 51% of the business? Going to the Board meeting, his disbelief in being ousted? Poor, selling his furniture, the visits and interviews? Connection with the singer? The relationship with Bill Gates, then the clash and rivalry, his fascination with Melinda Gates, her month away from Bill, the meal and the virtual reality sex? Woz and his return after working for deliveries? Starting again, his return to success, the iPod, the advertising? His age? Death?

5. As a portrait of Jobs, serious and comic, from the 70s into the 21st century, the portrait of Jobs in himself, the focus, his success, entrepreneur, judgements about him? His treatment of Woz? Of Scully?

6. Woz, his look, weight, clothes, hair, his interest in working with Jobs, friendship and loyalty, the way that he was treated, his attempted recognition, being ousted, coming again? Audience sympathy for him?

7. The influence of India, finding himself, the Guru, enlightenment, the drugs, the later use of the LSD for finding his future? On the scene with the Guru with the iPad?

8. Scully, the leader of Commodore, the rivalry, the allusion to Pepsi, Scully and his 51%, ousting Jobs? Himself ousted?

9. Episodes with Bill Gates, friendship, break, rivalry? Melinda, Job's attraction? The virtual reality sex?

10. An overview of the history of computers, boards, size, PCs, techniques, to iPods and iPads?

11. The final credits and the claims that everything was fictitious?

TOMORROW YOU'RE GONE

US, 2012, 105 minutes, Colour.
Stephen Dorff, Michelle Monaghan, Willem Dafoe.
Directed by David Jacobson.

Tomorrow You’re Gone sounds a pessimistic title for a film – and it is, especially with the central character, who has spent four years in prison, influenced by fellow criminal called The Buddha (Willem Dafoe in a few scenes), takes up with an actress in pornography movies, commits a murder at the instigation of The Buddha, but is prone to self-doubt, tested by some of the religious beliefs of the woman who picks him up – and shot at the end.

The synopsis probably sounds more exciting than the actual film which moves at a rather slower pace, giving attention to the character of Charlie, played by Stephen Dorff, and all his dilemmas and some moral and mental disintegration.The woman is played by Michelle Monaghan.

Probably best described as a curiosity item, thriller, psychological case with religious and even mystical dimensions.

1. The title? Pessimistic? As applied to Charlie? The Buddha? Florence?

2. The American city, prisons, streets, bars, apartments, mansions, the countryside? The musical score?

3. A thriller, psychological drama – with mystical and religious overtones?

4. Charlie, his background, four years in prison, the influence of The Buddha, receiving the letter, the code, the instigation to murder? His getting out, searching for The Buddha, getting new clothes, going to the bar, the information from the barman, the apartment, the noise next door, his looking through the wall, the nightmare and his vicious attack on the man? The encounter with Florence, her picking him up, going to her apartment, his hiding the money in the apartment? His showing him the pornographic video, the nuns, her participation? The relationship with Florence, discussions, her religious interests, talking about the soul, God, the visit to the church, his questions about himself? Going to do the murder, the shots, the woman as witness? The encounter with The Buddha, being urged to complete the job? On the road with Florence, the promise of the dinner, filling up at the service station, the delay, his finally going to the house, the encounter with the woman, her recognising him? His being shot by The Buddha, his stabbing him, the return to Florence? The religious implications? Death?

5. The Buddha, the past with Charlie, in jail, the letter, urging him to murder, appearing after the attempt, challenging Charlie, the final attempt? Shooting Charlie, being stabbed?

6. Florence, sultry, picking up Charlie, going to her apartment, the talk, the meal, watching the pornographic film, her participation, the separation of herself from the character on screen? Her liking for Charlie, his return to her? Her discussions about God, the soul? The plan for the dinner, in the countryside, going to the church? Her blonde wig and Charlie’s reaction, similar to the witness of the attempted killing? Her waiting for him? The end?

7. The pace of the film, slow, psychological, Charlie and his disintegration, Florence and her needs?

THE STOPOVER/ VOIR DU PAYS

France, 2016, 104 minutes, Colour.
Ariane Labed, Soko, Ginger Roman.
Directed by Muriel Coulin, Delphine Coulin.

This film offers a French perspective on the war in Afghanistan and international participation. It was written and directed by women and focuses particularly on women who have served in the military. A group has come to the end of its service and is returning to France but have been told to go for a week’s rest and debriefing in Cyprus.

The film focuses on three women, in themselves, on the effect of their military service, their interactions with the men, with authorities, issues of sexuality and relationship while on the island and encountering local men.

One of the features of war that is prominently acknowledged in the 21st century is post-traumatic stress and this film takes up the theme, the effect of being in a war zone, dealing with this and preparing to resume ordinary life.

1. A French perspective on the war in Afghanistan, French soldiers in action, debriefing, the aftermath of war involvement?

2. The opening in Afghanistan, the flight to Cyprus, locations in Cyprus, the luxury hotel, the countryside, the water? The musical score?

3. The title and its focus?

4. The troops, in uniform, at the airport, on the plane, finishing their service? Three days debriefing before going home? Arrival in Cyprus? The military command? The psychiatrist?

5. The emerging of characters, the three women, Max, Ness? The ranges of experience? Filling in the forms – not wanting to talk about their experiences? Scepticism? Yet their participation in the debriefing?

6. The examples of virtual debriefing, speaking, the goggles, the images on screen? Reliving their experiences? The effect of speaking, the group listening, variety of reactions? Their own way of coping with action, injuries and deaths, on the spot decisions?

7. Aurore and Marine, friends since childhood, Aurore as the more straightforward person, Marine and her seeming resentments? Discussions, memories, sharing the room, going out, the men, Max and the interventions? Going out in the car, the friendship with Ginger? Marine insisting on coming? Changing into dresses? Their experiences, driving with the men, discussions, relationships, sexuality? The two women and their dispute about the decision, Marine critical, Aurore defending?

8. Ginger, the nurse, her role in the war, the effect on her, the friendships?

9. Max, tensions, Ness, fighting, criticisms?

10. The drama on the island, the passing of the three days? Lining up to go home? The flight home?

11. A glimpse into soldiers, action, post-action, stress, debriefing, helping to cope?

GETTING EVEN WITH DAD

US, 1994, 109 minutes, Colour.
Macauley Culkin, Ted Danson, Glenne Headley, Saul Rubinek, Gailard Sartain, Sam Mc Murray, Hector Elizondo, Kathleen Wilhoite, Ron Canada.
Directed by Howard Deutch.

By 1994 Macauley Culkin had become a significant screen presence, making the Home Alone series his own but then appearing in other films including Richie Rich and The Good Son where he appeared with Elijah Wood, to Elijah Wood’s acting reputation.

Perhaps Macauley Culkin peaked too quickly and did not have the career that was expected of him – and which his brothers, Kieran and Rory were able to achieve.

This is an amusing comedy, lines as well as slapstick, with Ted Danson as Macauley Culkin’s recalcitrant father, a criminal who spent time in jail, separated from his wife who has died, his son not seen but being brought up by an aunt (who is marrying and wants to leave the boy with his father while she goes on a honeymoon). In the meantime, Danson and his friends, Saul Rubinek, Gaillard Sartain have planned a robbery of gold coins which they execute but the boy is very shrewd, works out what has happened, hides the coins, works in cahoots with a detective, Glenne Headley, hoping that his father will relent and be happy to have him live with him and toe the straight and narrow (which is possible because he became expert at cake decoration during a course in prison).

The film is directed by Howard Deutch, director of light comedies including Some Kind of Wonderful.

1. A star vehicle for Macauley Culkin in the 1990s, the height of his screen popularity? His screen presence, appeal?

2. San Francisco, the views of the city, the streets, apartments, the police, shopping malls, sports, fairgrounds? The feel of the city? The musical score?

3. The title, Tim and his age, the death of his mother, living with his aunt, dislike of her husband, being landed on his father? Age, capabilities, shrewdness? Ray, criminal, separated from his wife, her death? Separated from Tim? No correspondence? His time in prison?

4. Ray, prison time, learning to cook, his skill in decorating cakes? The issue of the coins, his plan? His contact for fencing the coins? His friendship with Bobby and Carl, ex-prisoners, the decision to be in on the heist? Bobby, frenetic, eager, the contrast with Carl, large, fond of eating, sometimes slow, genial? The map, the details of the plan?

5. The introduction to Tim, in the back of the car, his aunt and the fiance, Tim and his filming, the driver upset, almost crashing? His aunt’s wedding? Her bringing him to Ray? Her carefree attitude, leaving?

6. Ray and his reaction, the reaction of his friends and their surprise? Reacquainting himself with his son, the tensions? The prospect of the heist?

7. The three, the plan, going out, the execution of the plan, success, the escape? With the coins?

8. Tim, observant, listening in, doing a lot of filming (and later discovering Therese’s presence) finding the newspaper article, the hiding of the coins on the roof, Tim taking them, hiding them in the Niki bag? Confrontation with his father, his hold over his father, his list of enjoyment in San Francisco, the promise to tell them the location of the coins?

9. Carl and his enjoying the outings, learning something, the contrast with Bobby getting more and more enraged? All the slapstick comedy and his being the victim? Pratfalls, objects hitting Bobby, and the attempts of robberies in the church, there arrest, in the cells?

10. The outings, the aquarium, the fairground, the baseball game, shopping, meals, the rollercoasters…?

11. The police, Therese and her information, research, with the Chief, with her partner, following Ray and the group, becoming more interested, caught, Tim and his invitations, her accompanying them on the excursions, the criticisms by her partner, by the Chief, going out to dinner? Talking with Ray, Tim and his present of the perfume?

12. Tim and confronting his father with the dilemma, the coins or his living with his father? Ray, the decision, Tim giving him the key, packing, Therese’s visit? Going to the bus station, buying the ticket? Tim on the bus? Ray going to the locker, reflection, making the decision, taking Tim off the bus? Bobby and the confrontation with the gun – and his arrest? Carl watching
and walking away?

13. Ray and the arrest? His reaction to Therese as a cop? Tim and the talk with her, the information about the location of the coins, her picking them up? The chief and his being satisfied with? Carl watching on the television – free?

14. Ray, the charges dropped, time with Tim – and hopes for Therese in the future?

 

 

 

 

RITES OF PASSAGE

US, 1999 minutes, Colour.
Dean Stockwell, Jason Behr, James Remar, Robert Glenn Keith, Jaimz Woolvett.
Directed by Victor Salva.

This is an interesting film for television written and directed by Victor Salva who has had a mixed career, including some prison time for his sexual involvement with a 12-year-old boy.. This happened in the 1980s. Salva renewed his screen career with a range of films including Powder, and the thriller Jeepers Creepers.

This is a film about father-son relationships, the father, unexpectedly played by Dean Stockwell, is a martinet with his sons, expecting a great deal from his successful lawyer son but angry with his son with a homosexual orientation, Jason Behr, assaulting his partner and the son leaving home. The father is involved in a relationship which his lawyer son discovers and together they go to their holiday hut only to find the younger brother present.

The audience has already seen two escaped criminals murdering some hunters and taking their clothes. The leader is played by James Remar in a very effective performance.

When the criminals ask the family for help, the leader insinuates himself into the group, their having something to eat, some rivalry in arm wrestling but then there is quite an unexpected twist and the film becomes an interesting melodrama. And, at the end, there is another twist.

1. A family drama? A crime drama? Father-son tensions? Homosexual orientation themes?

2. The work of the director, his personal background, interest in themes, his films?

3. The title, the two sons, their growing up, as adults, the interactions with their father, mother? The situation at the cabin, Frank and his discussion about rites of passage, for each of the two sons?

4. The campers, Frank and his coming upon them, the confrontation, the shooting, taking their clothes? The escape from prison? The relationship between the two men? The revelation about Frank, his quest to recover his money before the mill was destroyed?

5. DJ, his work, at the hotel, the room occupied, seeing his father, with the lawyer, his father's embarrassment, attempted explanations?

6. Father and son going to the hut, the background, the summer holidays there, the hut built by his father, the father a hunter? Arriving, finding Campbell present, each surprised? The background of Campbell, his gay orientation, his relationship with Billy, the flashback to his father brutalising Billy, Campbell's absence from the family? The tension in his relationship with his father, with his older brother the memories of their past?

7. The three men, the father wanting them to have a weekend together? The arrival of Frank and Red posing as his son? Coming in, the phone call for the tow truck? Hungry, the cigar? Frank and the conversation, the challenge to arm wrestling, psychological taunting of the father, his giving in despite his sons pleas not to? His being defeated?

8. Frank, his psychology, talk about father-son relationships, rivalry, rites of passage? The father ordering them out?

9. The two brothers, drinking together, the reconciliation, informing about Billy's death? The issue of AIDS? Billy's disappearance, Campbell's grief? Their telling his father and his father with a more compassionate reaction?

10. Campbell leaving in the night, the twist in the plot, his being in league with Frank? The story of Frank, prison, robbing drug dealers, hiding the money in the mill, the need to get to the money? Campbell and his searching for Billy, the fact that Frank had known him, writing the letters, pouring out his soul, the sympathy and the letters, his agreeing to help Frank and get the
money?

11. The shock for father and son, their being bound? Red, the letters, his declaration of love, the possibility of leaving in the rowing boat?

12. The patrol, the father going out, memories of the past, reassurance?

13. Locking the house, the guns, the shooting? The confrontations, DJ shooting in the air, people off guard, Red being killed? Campbell taking Frank, putting him in the boat, rowing out, shooting a hole in the boat, Frank not being able to swim?

14. The father being shot, calling the police and ambulance? Campbell arrested? In jail, the visit from his brother, from his father, the embrace and his getting out of prison in six months? The future for everyone? As a result of this experience?

 

EVEN LAMBS HAVE TEETH

Canada, 2015, 78 minutes, Colour.
Kirsten Prout, Tiera Skovbye.
Directed by Terry Miles.

This is a horror vengeance film in the tradition of films from the 1980s, especially like I Spit on Your Grave, where women are brutally treated, rape, physical violence, verbal abuse, are intended to be murder victims.

Some have considered that the film is the equivalent of the torture porn of so many films of the early 21st century – in the Hostel vein.

The film starts ambiguously with a group of young adults daring each other to take drugs and having hallucinatory experiences. One of the young women urges her rather reticent friend to take the drug – which she does.

Then a transition of mood as the two girls say goodbye to the uncle of the seemingly resistant young woman – and he is an FBI detective. Their intention is to work on an organic farm, get enough money to go to New York for a spending spree!

They stop at a shop, meet two agreeable young men who give them a lift – take them to see their mother who drugs them and they are installed in two huts as prostitutes for the police inspector and other men of the district. They are subjugated to sexual attack and brutal treatment by brutal men.

They have a code to send the uncle and it is broken so he becomes suspicious and goes investigating, little knowing that the police chief is one of the main participants in the abuse.

However, the reluctant girl (the rather fearless one becoming extraordinarily timid) gets free after biting a man in the neck – and they go on a vengeance spree, calling at the local hardware shop, getting all kinds of weapons, systematically pursuing the men who abuse them, the sheriff, the mother, the two sons, relishing their revenge which is understandable but ugly to watch.

The initially reluctant girI is airly shrewd and make it look as if the younger son did all the killings and then killed himself – some of the victims have offered money which the girls have taken and the end of the film is their taking off for New York that spending spree.

In some ways this is a feminist film – but the visuals and the relishing of the revenge is sometimes too much.

A L’INTERIUR/ INSIDE

France, 2007, 82 minutes, Colour.
Alysson Paradis, Beatrice Dalle.
Directed by Julien Maury, Alexandre Bustillo.

Inside is a French horror film, produced by the Weinstein Brothers’ Dimension company, but labelled “Extreme�. The subject is motherhood, pregnancy, jealousy, revenge.

The film starts with a credible situation, a pregnant woman in a car crash, her husband dying in the crash. The film moves forward some months with the pregnant woman going to see the doctor and her being reassured that she will be able to give birth to the child.

The film introduces the young woman’s mother who fusses about her daughter with her daughter sending her away. She books a sympathetic friend/ editot to drive her to the hospital the next morning.

Most of the action takes place during the night, with a mysterious woman appearing at the house, at the window, the pregnant woman taking many photos of her (she is a professional photographer). She also calls the police who come but can’t find any trace of the woman.

Then the films becomes rather ugly with the woman menacing the pregnant mother, the woman looking particularly sinister in long dress and played by the Betty Blue star, Beatrice Dalle. There is a great deal of blood as the sinister woman attacks the pregnant mother, knives, stabbings and slashings, the pregnant woman hiding herself in the bathroom, continue to menace.

There are several killings, including the police, her mother, as well as the editor who comes to see the mother, anxious because of a phone call.

Ultimately, there is a confrontation, and, with knives, a caesarean birth – which will lead…?

Not the kind of film that any pregnant mother would like to see during her pregnancy – and fathers expecting children may not like to see it either. It is the stuff of nightmares.

It is skilfully made in its horror vein, and was the recipient of several horror awards.

TALE OF TALES

Italy, 2016, 133 minutes, Colour.
Salma Hayek, Vincent Cassel, Toby Jones, John C.Reiley, Shirley Henderson, Hayley Carmichael, Bebe Cave, Stacey Martin, Christian Lees, Jonah Lees.
Directed by Matteo Garrone.

Tale of Tables is rather exotic filmmaking, all the more surprising because it comes from Matteo Got on a who made such an impact with his Mafia drama, Gomorrah, and followed it up with the effective small film, Reality.

The tales are from a 17th century Italian writer, Giambattista Basile. Audiences will be reminded of Pasolini’s trilogy, especially the Decameron, Boccaccio’s stories, many and interwoven.

Here there are three principal stories, each concerning a King. Interestingly, the film has been made in English with an international cast, Italians in supporting roles.

John C. Reilley portrays a King whose wife, Salma Hayek, wants a child. A seer appears offering a solution but indicating that there has to be a balance in the world and that a new life means a death. The king has to fight a sea beast, take its heart, give it to a virgin to cook and for the Queen to eat the heart – and she instantly becomes pregnant, as does the virgin. But the king dies in the attempt.

Vincent Cassel also appears as a lascivious King and Toby Jones is a King playful with his young daughter.

The film then moves on 16 years, the Queen happy with her adolescent son, albino, but very unhappy with his friendship with the son of the virgin, also albino, the two young men played by the twins Christian and Jonah Lees. The story shows the possessiveness of the Queen, the seer coming again, the Prince running away to search for the son of the virgin.

Vincent Cassel’s king is still lascivious, charmed by a voice, assuming the voice comes from a beautiful young woman but actually comes from an old crone who lives with her sister, decides to deceive the king, sleep with him – but he discovers the truth and commands her to be thrown out of the castle window – she survives. She is transformed into her younger self and marries the king.
The third king listens to his daughter’s song but is more interested in a flea which he catches, helps grow, with it becoming monstrous and then dying. His daughter wants to leave the palace, to marry, the king decides to hold a competition where suitors will guess the origin of the hide on display – with the big and threatening giant getting the correct answer and taking away the Princess.

Perhaps for an Italian audience, the film will be entertaining and interesting, but it is probably not to the taste of many audiences worldwide.

1. Exotic Italian storytelling? The origin of the stories in the 17th century? The touches of Boccaccio? Film tradition, the touches of Pasolini?

2. The colour photography and style, costumes and decor, realistic and stylised? The countryside, the castles, the hovels, the streets? The interiors, palaces, homes? The musical score?

3. The intertwining of stories? The interlinking?

4. The story of the queen wanting to have a child? The circus performance and buffoonery, the king amused, the Queen not amused, the joke about pregnancy, her leaving the circus, the apology of the King?

5. The tall seer? Appearance, clothes, interpretation of the future, the command to the Queen, to kill the sea beast, to take its heart, boil it, the role of the virgin, eat the heart, instant pregnancy? The balance of the universe, a birth and death? The King, donning the underwater gear, the underwater photography, his fighting the monster, killing it, his own injuries? His death? The pomp of the funeral after the birth of the child? Cutting out the heart, the virgin chosen to cook it, her own pregnancy, the Queen eating the heart, her pregnancy, the birth of the child? Her happiness? The funeral?

6. The story of the lascivious King, in the coach, his women, the procession?

7. The third story, the king, in the coach, playing with his daughter?

8. 16 years later: the Queen, the possessiveness with her son, the virgin’s son, looking alike, the twins playing the boys, the Queen forbidding their playing together, the sequence of her being lost in the maze and their getting over the wall, the Queen demanding an apology from her son? Overhearing him talk about the other boy deceiving the Queen about identity? Their plans, becoming king, taking it in turns, the whims? The virgin’s son running away, the grief of the Prince, his going in pursuit? The Queen searching? The second visit of the seer? Balance and loss? Underground, the abattoir atmosphere? The virgin’s son, being well received, a future? His injury, the Prince rescuing him? The future for the Prince?

9. The story of the lascivious King, the two old crones, his hearing the voice, his assumption about beauty, courting, knocking at the door, the reaction of the two old women, one flattered, the other anxious? The plan, offering the finger? The pursuit by the King, the sisters and their plan, the breasts, deceiving the King, going to the palace, the king discovering the truth, having the old woman thrown out the window, the cloth stranded in the tree, the old crone, reviving the old woman and her becoming young and beautiful? Married to the king? Her sister in attendance?

10. The King with his daughter, her growing up, composing the song for her father, his preoccupation with the flea, keeping it, in his room, attending it, it growing to monstrous proportions? Illness, the doctor, the death of the flea? Daughter wanting to leave the palace? Wanting to marry? Her father promising to choose a husband? The hide of the flea, the various suitors, their failing the guess as to what the animal was with the hide? The giant man, the correct guess, taking the Princess, in the cave, her unhappiness, escape? The return to rule the country?

11. The background, the circus performers, people in the street, the atmosphere of the kingdom?

12. The final credits and the vast tapestry with all the characters?

RED DOG, TRUE BLUE

Australia, 2016, 92 minutes, Colour.
Levi Miller, Bryan Brown, Jason Isaacs, Hanna Mangan Lawrence, Thomas Cocquerel, Justine Clarke, Steve Le Marquand.
Directed by Kriv Stenders.

After the immediate success and popularity of the initial Red Dog, it was, perhaps, inevitable that that would be a sequel. In fact, story -wise, it is a prequel.

Somebody asked whether this film was as cute as the original, cute in a good sense, pleasing, attractive, engaging. Well, it is.

The director is again Kriv Stenders who was able to bring the first dog story to life, a story of Western Australia and the Pilbara, a mixture of fact, reminiscence and legend.

So, how to create a credible prequel? One of the bright ideas is to show a busy father in Perth expected to take his son out to a movie – and they go to see Red Dog. The son would love to have a dog but his father is adamant – although, his son sees his father’s eyes moistening as he watches the film. When they go home, the father reveals that red dog was actually his. And so, the bulk of the film is a flashback to his childhood, returning to the father and his storytelling every so often, and audiences then understanding why it was at the beginning of the original film that Red Dog was wandering North.

The story of the young lad, Mick, has everything going for it. Young boys (and girls) can identify with him and his experience of finding the dog, covered in dirt and so called Blue but, when washed, he is red. The boy has to move up to a farm in the Pilbara because of his mother being hospitalised. He goes to live with his mother’s father, a fairly straight up and down man, especially so as he is played by Bryan Brown, an actor who can deliver any line in a very Australian way without it sounding like script. He is one of the most natural of our Australian actors and has some good opportunities here, sometimes being crusty and authoritative, sometimes being softer-hearted.

And, with the film set around 1970, who is one of Grandpa’s great friends who visits the house, shares a meal, and plays banjo with Grandpa – a friend who predicts that the future of the Pilbara will be in iron, none other than Laing Hancock (played by John Jarratt).

Mick and Blue range around the property, even discovering a cave with aboriginal paintings and a special stone which one of the hands on the property explains should not be taken because it is sacred. Later, Mick, jealous of one of the workers because of his attraction to his tutor, the young woman, Betty (Hanna Mangan Lawrence), takes the stone and interprets all the havoc that ensues, storms, bushfires threatening the property, as a consequence of his actions.

As well as the reminder of the mining of iron in the Pilbara, there are references to Saigon and the Vietnam war, the singing of songs of the period, a Chinese cook with an umbrella, quite a number of aboriginal characters (and the final credits pay tribute to aboriginal collaboration with the film), and two of the hands, Big John and Little John thought of as close brothers when they are not. These are points for the adult audience.

In the meantime, the younger audiences will be identifying with Mick and all his adventures, happy to be in the company of Blue, and, at the end, coming to realise how it was that Mick had to go back to his father and Blue went on the road to become Red Dog.

And, there is a new very younger generation who will want to see this film since the original was released. Good Australian storytelling.

1. The impact of the original film? The dog, humans, Western Australia, the Pilbara? Audience anticipation for another film?

2. The film is a prequel, the story of red dog, as True Blue – and the personal story?

3. The opening of the film, the dog, wandering, found, companionship, in nature, skills, the bonding and action?

4. The Western Australian locations, Perth, the cinema? the open spaces, the homestead, the mountains, the roads? The musical score?

5. The cast, the Australian tone? The home audiences? Overseas?

6. The popularity of dog stories, the children, for adults, children and dog stories?

7. Perth, the idea of the prequel? The father, son, wife? Hard work, going out, the boy wanting a dog? Going to the film? Seeing Red Dog, the father crying, the son noticing it? Going home, the issue of the dog, the father’s feelings? The boy in bed? The father deciding to tell the story – and this scene recurring throughout the film?

8. The story, Mick and his parents, his mother in the institution, going to live with his grandpa, arriving, the open plain, the horse pursuing him? The house, his room? The cook and his umbrella? The same meals each day? The workers, the aborigines, the cook, the woman doing the washing?

9. Grandpa, his property, cattle, a staunch Australian, his way of life? His bond with his daughter, his grandson? At the meal table, the same meals, the conversation?

10. Mick, his age, experience, willing to learn, finding the dog, washing it, the name, the dog not to be in the house, in bed with Mick, the grandpa letting it be?

11. The range of adventures, shared, the bond, lively, finding the cave, the stone?

12. The workers, Big John and Little John and their relationship? The young man singing, Blue barking while he sang, his serving in Vietnam? The aboriginal lad, the warning about the
stone in the cave?

13. The need for education, Betty coming, young, Mick and his infatuation, the lessons, her story and hopes? The young man singing, at the meal, Blue barking? At the gathering, Mick and his jealousy? The young couple kissing?

14. The visit of Laing Hancock, playing the banjo with grandpa? His discussion about the future of the Pilbara and iron?

15. Mick, deciding to get the stone, pointing at the horse, the horse hit by lightning? Pointing it at the young man? The range of disasters, the storm, his running away with Blue, the bushfires and his return, fighting the fire?

16. Betty leaving?

17. Going back into the cave, throwing the stone back, the darkness, Blue leading Mick out?

18. The taunt about his mother, apologies? His having to leave, go to be with his mother? The farewell?

19. Leaving Blue behind – Blue wandering, the story being told, and his transformation into a Red Dog?