WHY HIM?

US, 2016, 111 minutes, Colour.
James Franco, Bryan Cranston, Zoe Deutch, Megan Mullaly, Griffin Gluck, Zach Pearlman, Cedric the Entertainer, Keegan- Michael Key, Gene Simmons, Paul Stanley.
Directed by John Hamburg.

Many audiences have seen Meet the Fokkers and its sequels, so are familiar with that question from an ultra-serious father about the young man his beloved daughter has chosen to marry: Why Him? This film is very much in the same vein, although Bryan Cranston, moving away from his successful television career in Breaking Bad, has chosen a variety of film roles including LBJ in All The Way, an undercover DEA Agent in The Infiltrator and now a touch of comedy in Why Him?

Yes, this is one of those raucous American comedies with touches of the crass and the crude. However, unlike so many of the others, this one has its heart in the right place so that underneath the crudity, or despite it, there is a lot that audiences can identify with.

It doesn’t exactly open that way with dad celebrating his 55th birthday and a Skype connection to his daughter, Stephanie (Zoe Deutch), away at college, wishing him well – only that her fiance arrives, oblivious of what is happening, slips off his trousers, leading to a very much in your face bottom sequence, to the shock of all. When the daughter invites her family out from Michigan to California to meet her fiance, dad is shocked - but is persuaded to go.

The prospective son-in-law is played in very good spirits by James Franco, rather ubiquitous on the screen in so many films in recent years. There is a very good line in the film which explains him – Stephanie says to her family that he, Laird, has no filter. Whatever he thinks and feels, he says, taking the extrovert philosophy: how do I know what I think until I’ve said it? And he has absorbed a four letter vocabulary and beyond which he blurts out, despite advice to the contrary, because in terms of his language, his feelings, his thoughts, he has no filter.

In fact, although he is in his 30s, he is really still a child. He was something of a child genius, especially in terms of technology, a whiz at maths, creative with computers, an expert in computer games. So, he is really a man-child. But, he is absolutely honest and direct, and is generous to a fault (and there are many of those because not only does he not have a filter, he has no sense of appropriate timing). He means absolutely well but does not achieve absolutely well.

So, it is a shock when dad and mum (Megan Mullaly perhaps not immediately recognisable outside the context of Will and Grace) and their 15-year-old son have quite an experience in California, the son immediately identifying with Laird (in too many ways).

Laird is absolutely determined to marry but wants his prospective father-in-law’s blessing. No matter how unlikely that seems at the beginning, we are sure that it will be granted at the end.

Another complication which gives the film a bit more substance is that like the other Christmas raucous comedy, Office Christmas Party, the background is decline in business in companies, possibilities for retrenching, even more possibilities for takeover – especially since the business in this case is the manufacture of paper in a growing paperless age period

Yes, there is some raucous comedy, especially a very long toilet sequence, a paperless toilet where the technology is not functioning and Laird’s surprising majordomo (Keegan- Michael Key) has to try to fix it to dad’s embarrassment. What might seem a long interlude actually becomes a significant plot point by the end of the film!

So, a lot of comedy – even with the majordomo setting on Laird in all kinds of circumstances, very much like Cato and Inspector Clouseau which dad points out, though the two have never heard of the Pink Panther!

And, for a climax, Laird helicopters Stephanie back to Michigan to propose and to celebrate Christmas and, because the parents have had a great devotion to Kiss, what about Gene Simmons and Paul Stanley, with all their Kiss make up, garish and threatening as it is, emerging from a helicopter and singing We Three Kings!

And, all goes well for the future, relationships, peace, and manufacturing prosperity.

1. A raucous comedy? With point?

2. The US, about family, parents, relationships? Business, success and failure? The future?

3. The variety of the cast? Comic talent?

4. Michigan, the manufacturing of paper business, the Christmas season, the snow? The family, the house, outside the house, the scene for a final proposal? The musical score?

5. Contrast with California, the countryside and scenery, the lavish home, the grounds, the zoo, interiors, lavish, the variety of rooms? Computer games?

6. The situation: Stephanie and Laird, the phone call, the birthday party, Laird and his stripping, buttocks, in full view, the family and reaction?

7. Ned, in himself, the party, reaction to the call? At work? Stern? Barb, his wife? The son, age 15? Lou, the range of workers, their loyalty? The financial situation? Ned keeping quiet? The invitation, Lou persuading him to go?

8. California, the car, the maitre d’, the range of staff, the young interns, the impact?

9. James Franco as Laird, a man-child, his appearance, the tattoos, his relationship with Stephanie, his reaction to the family, Stephanie saying that he had no filter on his language, thoughts? Blunt, obnoxious but endearing, trying to be nice, blurting things at the wrong time? Showing the family over the house, expecting them to stay, the bedroom, the bowling room?

10. The truth about Stephanie, at college, her relationship with Laird, not revealing it to her family? The truth about the Foundation, her going to work on it, not telling her parents?

11. The son, 15, knowledge of games, admiring Laird, influenced by him, the language, bonding, enjoying stay, blunt, his parents?

12. The maitre d’, Gustav, European background, his comprehensive career, retired to work with Laird, his advice, his leaping out to test Laird and his martial arts? And the two not knowing about Cato and the Pink Panther and Inspector Clouseau?

13. Justine, Kaley Cuoco and, her voice? Her always intervening, intruding, dialogue with Ned? Even travelling to Michigan?

14. The toilet sequence, no paper, Ned and his being stranded, his wife’s reaction, the maitre d’, Justine’s advice? Fixing the situation? The later making this part of the plot and the son and his intuition, manufacturing toilets?

15. The bowling alley, Need and the temptation, enjoying it?

16. The bedroom, vast, Ned and Barb, their discussions?

17. The zoo, the animals, Laird and his attention, going for walks, with Ned and the discussions, with Barb?

18. The party, the guests, the reactions? Barb and the drugs, her amorous reactions? Ned trying to calm her?

19. Technical difficulties, fixing them? The role of Kevin? His curiosity? Ned, the contact with Lou, wanting to find out more and more about Laird and his accounts? The computer, the files? The irony of Ned’s accusations and Laird not having money – and the revelation about his personal wealth? And his buying Ned’s company?

20. Laird asking Ned for permission to propose, old-fashioned? Ned refusing – and the audience knowing that all would change?

21. Stephanie, refusing, wanting more time? Her parents going home?

22. The world of Michigan, cold, the helicopter, Laird and his meagre clothes, asking Ned about the proposal, nervous, Stephanie and the blindfold, discovery she was home? The proposal?

23. The helicopter, Kiss arriving, Gene Simmons and Paul Stanley, the make up? Their songs? And their singing the Christmas Carol?

24. The idea, the toilets, the staff happy, Lou and his wife? Laird and his collaboration – and everybody prosperous?

LOSING CHASE

US, 1996, 98 minutes, Colour.
Helen Mirren, Kyra Sedgwick, Beau Bridges, Michael Yarmush, Lucas Denton.
Directed by Kevin Bacon.

Losing Chase was made for television, very much a woman’s film in the best sense, written by Anne Meredith, with two very striking performances, by Helen Mirren, winning a Golden Globe for this performance, and Kyra Sedgwick who executive produced. The film was directed by actor, Kevin Bacon, married to Kyra Sedgwick.

The setting is Martha’s Vineyard, capitalising on the summer beauty of the town, the coast, the beaches and the sea.

Helen Mirren portrays Chase, married to Beau Bridges, but having suffered a mental collapse, losing control and dancing on a lighthouse in the midst of the storm. She has been institutionalised but allowed to return home where she languishes, tired, sitting on the porch. Her husband is devoted to her, her younger son very affectionate for his mother, her older son, very critical.

The husband decides to hire a companion for Chase during the summer. She is Elizabeth, a college graduate, played by Kyra Sedgwick who has had a bad experience in the past with her mother’s mental breakdown and death and her sister is in an institution, Elizabeth visiting her during the summer.

At first, things are very difficult, Chase being very acerbic in her comments, playing mental games. There is a change after Elizabeth has visited her sister and finds Chase in the rain in the vegetable garden, imagines her as her mother and has quite an emotional outburst, Chase consoling her and a bond created between the two women.

As the summer continues and the husband returns to work, the two women bond, the two sons relate much better and there is a lot of summer activity, on the water, drives, on the beach.

The emotional twist at the end is that Chase comes to realise that she loves Elizabeth, that she has not fully loved her husband. This has quite an impact on Elizabeth who feels she must leave. In the confrontation between Chase and her husband, she is able to tell him that Elizabeth has brought her to life in a way that he could never have done, which leads to a separation, Elizabeth out of their lives except in memories, and a more peaceful coexistence in future.

1. A drama about breakdown, mental conditions, companionship, healing?

2. The Martha’s Vineyard setting, the island and its beauty, homes, the town, streets, the water and peaches, the cliffs? The beaches and walks? The drives? The feel of the place? The musical score?

3. The title, the focus on Chase, her mental situation, institutions, deterioration, at home? Her relationship with her husband, with her sons? With Elizabeth? Her recovery – but her husband losing her?

4. Helen Mirren as Chase, awards? Her screen presence? Her voice-over, the words to describe her breakdown and collapse? Her observations about the institution? Her return home? Her relationship with her husband, accepting him, love? Her children, Jason and his devotion, Richard and his hostility? Her husband getting her the gift of a companion?

5. Chase, her attitudes, being tired, lying down, on the porch, the reaction to Elizabeth, testing her, playing mental games, verbal? Calling her a slave? Golden retriever? Her behaviour on the porch, in her room, at the meals?

6. Richard, his character, love for Chase, supporting her, the sons, with Elizabeth, Chase’s insinuations? An honourable man? Going back to work? His son phoning him, his return, his attitudes towards Chase and the relationship with Elizabeth? Accusations? Chase and her frank comments to her husband, her appreciation of Elizabeth, bringing her back to health, bring her back to life? In a way that her husband never could? Leaving him?

7. Elizabeth, her studies, the summer, responding to the job? Her background, her mother and her mental instability, death? Her sister in the institution, the visits, the comparisons between the two, the hostile attitude of her sister? The return from the visit, seeing Chase in the rain, at the vegetable garden, her outburst, talking to her as if she were her mother, the breaking point, the two women bonding?

8. Elizabeth and her reactions to Chase, preparing the meals, taking the boys out, boating, at the club, the attention of the barman, the women and their gossip? Her role in putting up with Chase? With Richard? With the boys?

9. The import of her visit to her sister, the audience understanding her better? Her return and the confrontation with Chase?

10. Things improving, the vegetable garden, Richard’s absence, Chase and the drive, the gift of the car, with the boys, on the beach? Things improving with the boys?

11. Elizabeth swimming, Chase drowsy, thinking that Elizabeth had drowned, becoming frantic, the reaction of her sons, Richard denouncing her as mad? Finding Elizabeth, the passionate kiss, her reaction?

12. The son, observing his mother, the storm, Chase closing the window, falling on the bed, the boy seeing this and phoning his father?

13. The effect on Elizabeth, her own affections, sexuality? The decision to leave? Chase coming to the wharf, the gift of the car? The impact of Chase on Elizabeth’s life?

14. Chase, sleeping, finding that Elizabeth had gone, the boys giving her the car keys, driving, the wharf, confronting Richard, the farewell to Elizabeth, the gift of the car?

15. The aftermath, the separation, Richard bringing the boys, Chase’s life – and her comments about her experience, her memories, thinking of Elizabeth…?

WICKED AS THEY COME

UK, 1956, 94 minutes, Black and white.
Arlene Dahl, Philip Carey, Herbert Marshall, Michael Goodliffe, Ralph Truman, Sidney James, David Kossoff, Faith Brook, Patrick Allen.
Direct by Ken Hughes.

Wicked as they Come has a touch of the potboiler title.

This is a film, written and directed by Ken Hughes (many smaller films but a peak in the late 60s with Chitty Chitty Bang Bang and Cromwell). This is a British production, filmed in the UK, the type of small film made in England at the time, often with American actors, as is the case here with Arlene Dahl and Philip Carey.

However, the opening is in the US, a close with factory, a competition, Cathy (Arlene Dahl) not only entering but being seductive with the father and son in charge of the Style Competition. It is odd to see Sid James and David Koss off as American characters.

While Cathy has started poor and later revelation that she was sexually attacked when a teenager, she has another self-confidence to manipulate men, winning the competition, going to England, modifying her name, enjoying the fashions, wealthy hotels and the beginning of encounters with men, seductive manner and charm, exploiting them, dumping them. The man who escapes something of her wiles is an advertising man played by Philip Carey who comes into her life at various stages, understands her, loves her, but is used by her.

The list of men that she ruins includes Michael Goodlett as a photographer, Herbert Marshall as an executive who has an affair with her but cannot leave his wife, his father-in-law who is a rich businessman who marries her.

Arlene Dahl was considered one of the beauties of Hollywood and this is very much a reality in this film, her effect on the male audience probably as seductive as it was on the men in her life.

Arlene Dahl then did another film in the UK, Fortune is a Woman/She Played with Fire.

1. Drama about an American gold-digger in England? 1950s style?

2. The opening with the American setting (for a British film to be successful in the US)? The factory, Holmes, cards, television? Restaurants? The printers? The preparation for the British sequences?

3. Britain, London, Caps OAC, the swanky hotel, the photography suite, business school, secretarial work, travel, Paris? The courts in prison? The musical score?

4. The title, Arlene Dahl in the central role? Her origins, the later revelation of the thugs attacking her? Her resistance to men? Her plans, goals, cold, lack of scruple? And yet her glamour – and the impact for the male audience, accepting her as did the male characters?

5. The US, the factory, style, the competition, the television show? Cathy at home, her stepfather and is attitudes? His friends coming on to her? The son of the publisher, asking for dates? Are going to the printing press, talking with the publisher, charming him, going out to dinner, the father and son organising her win? Her turning the tables on them? Using them?

6. Change of name, going to England, the encounter with Tim, his liking her, seen through her, observing her and her wiles? With the tycoon – and his wife and family at the airport?

7. At the hotel, the encounter with Buckham, the mixed up keys, going to dinner with him, his infatuation, the photo shoot? The proposal, away for a week, her buying everything on his account, vanishing? His anger, owing to the bank, the fight, arrest, six months prison? His later vengeance, prowling, frightening Cathy? Tim coming to see him, putting out the facts, his six months versus her execution? His going to the police – offscreen?

8. Tim, his advice, going to secretarial school, succeeding? The application for the job? The encounter with Stephen Collins? His phoning for the documents, her bringing them, the set up with the bed, his infatuation with her? The affair? Going to Paris, the encounter with his wife? Her attempt to buy Cathy of? The encounter with her father, companionship, marriage? Her achieving everything? Yet unhappy? The prowler, the gun, shooting her husband?

9. Tim, his character, advertising, friendship, understanding Cathy, the relationship, Stephen Collins finding them, firing him? Is seeing her in Paris? Her relationship with the businessman? His coming to her support after the case?

10. The men in her life, there infatuation with her, affairs, marriage?

11. The arrest, the investigation? The testimony? The court? Guilty? Tim and his persuading Buckham to go to the police, are being charged with manslaughter, or accepting this is just?

12. A life, from poverty to riches, what she wanted, what she achieved, what she felt? The possibility of a future with Tim – or not?

BRIGHT LIGHTS, WITH CARRIE FISHER AND DEBBIE REYNOLDS

US, 2016, 95 minutes, Colour.
Directed by Alexis Bloom, Fisher Stevens.

This film was released by HBO at the beginning of 2016. Film fans around the world experienced the sadness at the end of 2016 with the death of Carrie Fisher after a heart attack on a flight from London, the grief of her mother Debbie Reynolds and her collapsing the next day and dying.

Debbie Reynolds story is in many essentials a very Hollywood story. This film highlights the extent of her career with many glimpses of film clips as well as nightclub performances and other concerts. The film also highlights the personal background, her marriage, very young, to crooner Eddie Fisher, the disillusionment when Eddie Fisher went to “console� Elizabeth Taylor and then married her. There were two children, Carrie and Todd.

Carrie Fisher had a very difficult life, the absence of her father, and gambling and reckless stepfather, being in the light of her mother and her career yet being encouraged to sing and to perform, bonding with her brother. As Princess Leia when she was 20 and throughout her 20s, she became one of the most popular icons of cinema culture. Yet, she suffered from depression, drug addiction and drinking, but experienced some rehabilitation as well as a successful career as a writer, novelist, screen doctor.

At the end of their lives, mother and daughter became very close, living next door to each other, knowing each other’s thoughts and feelings, mutually supportive – not without some daily exasperation.

The film was interesting in showing the origins of Mary Frances Reynolds from Texas, her mother’s disapproval of a show business career, her early auditions and screen roles, contract at MGM, singing Abba Dabba Honeymoon in Two Weeks with Love, followed by Singing in the Rain, a film with Frank Sinatra, The Tender Trap, her Oscar nomination for The Unsinkable Molly Brown. She did make a lot of other films over the decades but these are not touched on. Rather, the film goes onto her cabaret career, her exuberance in performing, getting energy from the audience, establishing an instant rapport with them – and, as she grew older, so also her grey-haired audiences., Carrie joined her on stage in singing.

Full of verve, it is interesting to hear Debbie Reynolds’o reflections on the alienation for many years from her daughter, their reconciliation, their happy dependence on each other – which makes a lot of sense that Debbie Reynolds would die the day after her daughter.

Carrie Fisher has always had a sardonic tone. There is quite a lot of home video of Carrie and Todd as children, of performance in teenage. There is acknowledgement of the Star Wars phenomenon – even in later decades Carrie Fisher going to conventions and signing autographs. She had filmed her sequences for Star Wars VIII, with sequences of her fitness regime to prepare for this film, and there was a computer generated image of her as young at the end of Rogue One.

For film buffs, there are sequences from the film version of her novel Postcards from the Edge (1991, directed by Mike Nichols), a fictionalised version of her life and breakdown and the impact of her mother – with Meryl Streep the equivalent of Carrie Fisher and Shirley Mac Claine as the equivalent of Debbie Reynolds.

In later years, Carrie Fisher had a show with which she travelled and was filmed for television, reviewing her life, its ups and downs, family, her marriage to Paul Simon, her health and mental health crises: Wishful Drinking.

There is a lot of pathos in the sequence in this film where, three months before he died in 2010, Carrie goes to visit Eddie Fisher, just a shell of the man ill in bed, going back on his life, his absence as father, his drug addiction, the collapse of his career – but an opportunity for him to express his love for his daughter and her love for him.

This is one of the more interesting Hollywood documentaries, with great affection for the subjects, celebrating the ups and downs of their lives without targeting them. Actor Fisher Stevens is one of the sympathetic directors.

THE LAST KING

Norway, 2016, 99 minutes, Colour.
Directed by Nils Gaup.

The main thing to note about this historical epic is that it is a Norwegian film made principally for a Norwegian or Scandinavian audience. Any audience from beyond these countries would need first to study something of the background of the plot, a Civil War in Norway at the beginning of the 13th century.

One of the great advantages of the film is the photography of the Norwegian landscapes, snow scapes. And while the budget is small, no cast of thousands, the battle scenes are nevertheless strong and vivid.

The basic plot concerns the infant son of the King who half the country wants killed and the other half wants to rule them. The child is taken, secreted away by a group of loyal heroes who spend a great deal of the film defending the child.

There is a subplot about a young princess and her being taken by the villain.

Because the film screenplay is so grounded in the history, it is difficult for a casual audience to begin to watch the film and follow it in detail and understand what is happening and the issues for Norway’s history.

ASSASSINS CREED

UK, 2016, 115 minutes, Colour.
Michael Fassbender, Marion Cotillard, Jeremy Irons, Brendan Gleeson, Charlotte Rampling, Michael Kenneth Williams, Essie Davis.
Directed by Justin Kurtzel.

Assassins Creed is based on a computer game and is intended for the players, especially those who are fans of the game and assure us that the details of the games have been incorporated into the screenplay. But what about those of us who are not game players are not familiar with Assassins Creed? It means that this has to be something of a spectacle action show with plenty of special effects and computer graphics, especially for sequences which are set in Spain in the 15th century.

There is some information on screen as the film begins, a reminder of the role (not necessarily historical but in the mythologies of novels and the movies) of the Knights Templar, their position in the church, their influence on monarchies. There is also information about the lineage of secret Assassins. But, to the surprise of those who know a bit about the Bible and the Genesis stories, there is information about the Eden Apple, not only the cause of the fall of Adam and Eve but, somehow or other, the reality of human free will is contained in this Apple. Not a surprise that everybody is after it, wanting its power – and this continues into the 21st century.


And that is where the film opens in the 15th century, the Court of Ferdinand and Isabella, clashes between Muslims and Christians, the role of the Prince of Granada, and a tradition of secret and well-trained assassins. During the film there are several flashbacks to action in Spain, protection of the Prince, challenges from royalty, the flashy action of the assassins, arrests, almost-executions, escapes… And even Christopher Columbus.

There is a sudden leap to 1986, a little boy in Mexico riding his bike, trying some dangerous feats, arriving home to find his mother dying, and his father dressed as an assassin with a knife, the authorities coming to get him and his advising his son to flee. In this way we are introduced to the character of the young Callum Lynch.

And then we are in the 21st century, 30 years later, with Callum actually about to be executed by lethal injection for murdering a pimp, so we are told. However, he is extricated from the jaws of death and set up in the experimental rooms of a huge company, investigating technology, medication, the role of memories. The person in charge is Jeremy Irons (who, as one reviewer wisely put, is very Jeremy Irons-ish). On hand is his daughter, Sifue (Marion Cotillard) who has dedicated herself to science, working with memories.

So, this is where Callum Lynch, played very seriously by Michael Fassbender, begins to get used to his post-almost-execution life, meeting various other subjects of experiments, meeting the rejects who now have very little life of their own. He agrees to go into the experimental program, the Animus, a virtual reality experience, where he goes back into the past, identifying with his assassin ancestor and his exploits, reawaken his own assassin genes, and discovering the Apple, involved in its rescue.

The Templars of the 21st century, meeting at their Temple in London, are very happy to have the Apple, and Jeremy Irons about to make a speech, but… Callum Lynch raises the question with his daughter whether her father really wanted the Apple or he just wanted to get rid of the assassins. We realise he wasn’t 100% supported by the Templars in this quest for the Apple, especially when we meet the woman in charge played by a haughty Charlotte Rampling.

And so, that is Assassins Creed unless you are a game player – and unless they decide on Assassins Creed 2.

1. A film for enthusiasts of computer games? For the game of Assassins Creed? The impact for non—gamers?

2. Fans and the comments about the accuracy of the film in relationship to the game? Situations, characters, issues, moves?

3. For the wide audience, an action blockbuster? The range of action, the stunts, CGI, the atmosphere? The musical score?

4. The introductory information, the history of the Knights Templar and the Assassins? The mythology of the Eden Apple? Its powers, free will? Its existence, ownership, retrieval? This kind of mythology invented for computer games and films?

5. The introduction, 1492, Ferdinand and Isabella, the court, the history of the Templars, the history of the assassins? The continued flashbacks throughout the film?

6. Spain, the Catholic Church, clash with the Muslims? Royalty, Christopher Columbus? The Prince of Granada, the mission for the Apple, the assassins? The chief assassin, his female companion? The bond, their attacks, riding, fighting, capture, almost execution? The escape? The range of flashbacks providing the history, and the action?

7. 1986, Cal, his mother dying, the role of his father, the authorities coming, his father urging him to escape? The young boy, the bike, his attempted feats, and the image of the bird?

8. 30 years on, Cal, to be executed, the murder of the pimp? In prison, taken to execution, his fears, the injection, the effect?

9. His being saved? His being taken to the industrial unit? Technology, techniques, virtual reality? Dealing with recovery of memories? The Animus, its use for the recovery of memories? Cal awake, his reaction to his surroundings, the revealing of his character, dealing with the other members, the 200 year old Arabic leader? The regime, the meals, seeing those who had failed the tests and their lack of life?

10. Sophie, her presence, dedication to science, her work, with Cal, the Animus, virtual reality, his experiences, reliving them, acting them out, but the flashbacks providing the history? His discovery, his identity, the Assassin, the mind of the assassin?

11. Sophie, her father, his control, his character and ambitions? The interactions of father and daughter? Cal and his success with retrieving the Apple?

12. Sophie, her hopes, ambitions, supervising the work, her relationship with Cal?

13. The manager, leading the Templars, his decisions, the woman president, her wanting results, her lack of confidence in the process?

14. Cal, the visit to his father in the institution, his father’s story, his mother as an assassin, his father warning him, his decision to be active, his achievement, the Apple?

15. The Temple of the Templars in London, the ceremony, everybody arriving, hooded, the security, the rituals? The speech, Sophie and her contribution, her father going before the assembly?

16. Sophie and Cal, Cal and his decision, slitting her father’s throat?

17. The reactions, Sophie bewildered at what she had done, Cal and his role as an assassin, the havoc for the Templars?

18. The final scene on the rooftop, the assassins keeping vigil?

MOONLIGHT

US, 2016, 111 minutes, Colour.
Alex R. Hibbert, Ashton Sanders, Trevante Rhodes, Mahershala Ali, Naomie Harris, Janelle Monae, Andre Holland.
Directed by Barry Jenkins.

The preview was in the morning and, that afternoon, news that Moonlight had won the Golden Globe for Best film, Drama. It had some strong competition but it is a compelling film.

Much of the setting is familiar to moviegoers, especially the films from the 1990s showing poverty, drug deals, the experience of racism, life in the hood. While this is the setting for Moonlight, the audience is invited to look at situations, characters and issues from a different, more humane, perspective.

This is the story of Chiron, told in three chapters, with three different actors taking the role of the boy (Alex R. Herbert), the teenager (Ashton Sanders) , the man (Travante Rhodes) -one difficulty being that the actor portraying the teenager seems more slight physically than expected and not the kind of frame that could bulk up to the adult Chiron. There are three chapters: Little which is the nickname for the boy, Chiron which is his name, Black which is the nickname given to him by his friend, Kevin.

The city is Miami, some ventures into the centre of the city downtown but by and large life in the suburbs, the African- American suburbs (the only white characters in the film seen at the end in the diner where Kevin works as chef).

Chiron is a quiet boy, particularly reticent, even speaking few words when he is encouraged. He is bullied by the boys at school, chased, stones thrown at windows… He lives with his mother, Paula, a persuasive Naomie Harris, who is a drug addict and treats her son angrily, not showing any affection.

One of the best things that happens to Chiron is that Juan, a drug dealer, finds him in an abandoned house and befriends him, taking him home, Juan’s girlfriend, Teresa, able to coax him to speak. Juan, a very sympathetic Mahershala Ali, becomes the father Chiron never had, affectionate, interested, with a wonderful scene where he enable Chiron to trust him and to learn to float and to swim.

It is Juan who explains the title: Juan is from Cuba where he was told that black skin in the moonlight looks blue.

One of the aspects of the bullies is that they call the little boy faggot.

The teenage Chiron goes to school and the bullying continues, brutally physical at times, even getting Kevin to punch his friend. Chiron’s mother is still the same, and Teresa is the continued support. Chiron’s reticence is still characteristic and his wondering about his identity, his sexuality – dramatised very quietly by a scene with Kevin on the beach.

The third part of the film takes place 10 years later, Chiron having been in prison, bulked up, and really assuming the character and role of Juan. The main drama of this section includes a visit to his mother in rehab and some kind of reconciliation and a tear. But, it is also the friendship with Kevin, a phone call, a visit, a meal, the lyrics of a song, remembrance of the past – and the openness for a future.

Director Barry Jenkins has created a film that is always interesting, that is very moving, that has touches of poetry, and a humanity that we may not have been expecting.

1. The title? The explanation of black skin seeming blue in the moonlight? Juan as blue? Chiron ultimately imitate imitating Blue?

2. The African- American setting? Miami and the suburbs, the city, the streets in the blocks, homes, school, the sea on the beaches, the diner? The musical score, especially the song for Chiron and Kevin?

3. The presentation of Chiron’s story? The three parts? Little, Chiron, Black? The three different actors, resemblances and differences? The finale of the boys Chiron looking out to the sea, looking back?

4. The introduction to Juan, the drug deals, on the street, his dealer, the client upset, supplying the drugs, payment? The world of dealing? The clients, Chiron’s mother and the others? Little asking Juan about the drugs, his reply, the tear in his eye? Teressa and her relationship with Juan?

5. Juan seeing the chase, Little being chased by the boys, hiding in the house, this smashing the windows? Juan coming to the door, Chiron’s reticence, not speaking, yet following him, the meal, his hearty appetite, staying the night, eventually talking with Teresa? Juan taking him home, his mother doing the drugs, her anger? Chiron being called a faggot? The bond with Juan, driving with him, talking with him, the swimming lessons, trusting and learning to float and swim? Father-figure? To Reza as a substitute mother? His concern about being called a faggot?

6. The teenage Chiron, his scrawny look, his age, at home, his mother and the drugs, her boyfriends? Demanding cash from him? The offscreen death of Juan? Teresa, Chiron staying with her, her teaching him to make the bed? At classes, the teacher, the boys mocking, the verbal abuse, the physical abuse? His friendship with Kevin? From the past? The episode on the beach, the attraction, kiss, fondling? The effect on Chiron? The gang urging Kevin to punch Chiron, his doing so, asking him to fall down? Chiron getting the chair, bashing the bully? The discussions with the principal? The police, taking him away?

7. 10 years passing, Chiron and his being bulked up, imitating Juan, the car, the gold teeth, the drug deals and the clients, the block? Scenes of him exercising, the explanation of his bulk? His talk about the prison, the dealer, being given the block? The visit to his mother in rehab, the declarations of love, tears? Kevin’s phone call, the talk? Chiron driving to see Kevin, Kevin and his history, prison, a cook, with Samantha, his son? The scenes in the diner, the customers (the only white characters in the film)? The discussions with Kevin, why Kevin called? Why Chiron drove? The meal, chef’s special, the drinking of the wine? The playing of the song and its lyrics, the drive home? Chiron explaining he hadn’t touched anyone, been touched since the beach? The image of the two men together, and the young boy looking back?

8. A familiar world of African- Americans, poverty, drugs…? Yet a different perspective? Drugs, violence and poverty, yet kindness, affection, the struggle for identity, sexuality?

MY SISTER EILEEN

US, 1942, 96 minutes, Black and white.
Rosalind Russell, Brian Aherne, Janet Blair, George Tobias, Allyn Joslyn, Grant Mitchell, Gordon Jones, Elizabeth Patterson, Richard Quine, June Havoc, Donald Mac Bride, Jeff Donnell.
Directed by Alexander Hall.

Ruth McKinney? wrote a series of stories about her family, her sister Eileen, an aspiring actress, and what happened to them when they moved to New York City. The stories were adapted as a play for Broadway, My Sister Eileen.

While this is in the tradition of screwball comedy, the screenplay seems to rely strongly on the play and its structure and the confining of a lot of the action to particular sets, especially the downstairs apartment where the two sisters live. The film is also strong on dialogue, especially of the deadpan kind with its irony, delivered by Rosalind Russell in an Oscar-nominated performance as Ruth. Janet Blair is all vivacity and flirtatious this as Eileen.

There is a strong supporting cast with George Tobias as the eccentrically smooth-talking landlord who also paints. Brian Aherne is very serious as the editor who supports Ruth. Allyn Joslyn is a fast-talking newspaper man while Richard Quine works with some dignity at a diner. June Havoc turns up in a small role as a medium. Gordon Jones is a football player who irons but who doesn’t do washing because that is women’s work, with Jeff Donnell as his wife. Donald Mac Bride is the sardonic local policeman urging them all to move, while Grant Mitchell is the father and Elizabeth Patterson as their very affirming and rather endearing grandmother.

The stories were turned into a Broadway musical, Wonderful Town, music by Leonard Bernstein, with Rosalind Russell winning a Tony award. Richard Quine, who had appeared in the play and the first film, directed a musical version in 1955 with Betty Garrett in the Rosalind Russell role, Janet Lee as Eileen, Jack Lemmon as the publisher and guest performances with song and dance and verve by Bob Fossey and Tommy Rall as Eileen’s suitors.

Enjoyable in itself, though it often seems rather forced, even strained, with the added attraction of Rosalind Russell’s performance – the 1955 version seems more enjoyable.

And who would have expected the Three Stooges to suddenly appear at the end?

1. A popular comedy based on original articles and a Broadway play? Popularity in the early 1940s?

2. The tradition of the screwball comedy, fast-paced, farcical situations, strong characters and interactions? This version as rather stage bound, especially in the apartment? The reliance on dialogue? The musical score?

3. The performances, the very strong cast?

4. Columbus Ohio, the Sherwood sisters, their strict father, not wanting them to leave home, the very liberal grandmother and her support? Ruth and her writing stories, wanting to go to New York? Writing the review of her sister’s performance before the performance? Eileen, wanting to be an actress, the editor’s daughter taking the role? Her weeping? The decision to go to New York?

5. The relationship between the two sisters, the title and the emphasis on Eileen, the strong character with the emphasis on “my� with Ruth?

6. New York, their luggage, the advertisements, looking for an apartment? The encounter with Mr Appopoulos, his continued talk, the offer, the money, spoken contract, the witnesses? The sisters being tired, staying, the blasting underneath for the subway? Small, the light outside, the people passing by, dog chasing the cat inside?

7. Mr Appopooulos, his art, painting on the street, his exhibition but nobody coming? The Wreck, practising with the body double on the clothesline, his wife, the secret, his mother-in-law coming, staying with the girls, the ambiguities? His doing the ironing? Helen and her jealousy? His having to leave, his getting down the window and the police challenging him? The mother-in-law, haughty, the couple getting married, the new honeymoon?

8. Eileen, going to the producer’s office, pushing forward, Clark and his offering to interview her, his fascination, her happiness? His coming to the house, flirting? Unwelcome with Ruth? The phone call for Ruth to go to the Portuguese sailors in Brooklyn, his turning up to flirt with Ruth? Eileen and Frank, the restaurant, his being proper, the bottle of wine, the blasting splashing the wine over him? The reconciliation with Eileen?

9. Ruth, her manuscript, the encounter with Bob Baker, getting her to speak her mind to Mr Craven? Her disappointment? His coming to the apartment, the discussions with Ruth, talking and interrupted, spaghetti and meatballs, the bus, the walk? Writing a new story? His praise, the contract, Mr Craven not wanting it? Ruth and her disappointment? The phone call to go to Brooklyn, the encounter with the Portuguese sailors, their following her, in the apartment, the conga line, causing the riot, Eileen leading the conga line, the arrest, in prison, Ruth going to see her, Eileen charming the police, staying in jail?

10. Father and grandmother arriving, father wanting them to go back to Columbus? His being shocked with all the goings on? And the policeman giving the knowing nod as if the father was a guest?

11. Effie, reading palms, her clients turning up, have been carried in, later arrival and her indiscretion about The Wreck and Helen?

12. The Portuguese, the apology, the metal for Eileen? Bob Baker arriving, Ruth disappointed that Eileen was flirting with him? Eileen’s realisation? The packing to go home, the change of heart?

13. Bob, the cheque, the success of the story, the magazine? Eileen and her self-focus?

14. Mr Appopoulos, persuading them to stay, six months? And the drilling beginning – and the Three Stooges drilling into the apartment?

FIRST RESPONSE

Canada, 2015, 89 minutes, Colour.
Dania Ramirez, Kristopher Turner, Joris Jarsky, Adam Butcher.
Directed by Philippe Gagnon.

First Responses is an interesting kind of thriller with a difference, the aftermath of a club robbery and shooting, the robbers hailing down and ambulance forcing the paramedics to deal with the wounded brother.

Perhaps unnecessarily and certainly rather awkwardly, back stories of the two paramedics are introduced with flashbacks throughout the film, giving some kind of character background but it seems rather superfluous, given the action.

The brother concerned about his brother who has been shot has a gun, has taken cocaine, is continually threatening, on edge. The wounded brother seems rather calm, in pain, haemorrhaging, experiencing surgery for the removal of the bullet. The two paramedics are sympathetic, Camilla being rather sympathetic and strong minded, Gerry also sympathetic with a wife and son, not as forthright as Camilla except when he goes to a hospital to commandeer material for the surgery

The keeps quite an amount of tension – but with a twist at the end when the brother who was wounded turns out to be the brains behind the robbery and has decided to kill the paramedics because they can recognise him.

1. A different kind of thriller? The criminals? The robbery? Shootings? Hailing down the ambulance? The work of the paramedics? The threats?

2. Philadelphia, city, clubs, the streets, hospitals, paramedics supervision? The musical score?

3. The title, the role of the paramedics?

4. The introduction to Austin and Dermot, Austin and the cocaine, ready for the robbery, going into the club, the threats, the guns, taking the money, the safe, the undercover policeman, shooting, wounding Dermot, the escape, the car, hailing down the ambulance?

5. Camilla and Gerry, the response? Their personalities? How effective the insertion of their life stories into the action narrative? Camilla, her background, her husband, seeking jobs, his date, her being upset, the computer, his being injured? Gerry, the shooting, surviving, his wife on the phone call, his son? The two working well together?

6. Austin, the gun, concern about his brother, the cocaine? Forcing the two to work on his brother, the interruptions, his threats, his concern? Camilla and her fighting back, his control? Taking the phones? No contact with the supervisor? His gratitude for their helping Dermot, going to the pharmacy with Gerry, creating the disturbances in the hospital, Gerry taking what was needed for the surgery? His promising that Gerry would go free, especially his listening to the phone call?

7. Camilla, stronger minded, wanting to intervene, not succeeding? Her skills in keeping Dermot alive, her various strategies? Confrontations with Austin? Going to the warehouse, being chained? The decision to get the bullet out? The return, the equipment, her Austin succeeding with the bullet? Her turning the tables on Austin? His taking her as hostage with the knife? Out on the tarmac, the plane, the threats?

8. Dermot, not taking the cocaine, his part in the robbery, being shot? The wound, consciousness, danger of infection, the loss of blood, Camilla giving her own blood in transfer? The surgery, the removal of the bullet? His wanting a clear head? On the tarmac? His gratitude – and the irony of his being the brains, his wanting to shoot Camilla and Gerry as witnesses? The disruption – and the shooting?

9. The supervisor, the contact, the information, the film, discussions with the authorities? Investigator, the information about the movement of the ambulance, the warehouse? The phone call from the hospital? The police arriving, the tarmac, the shootout, Camilla and Gerry safe?

10. Popular ingredients, keeping the attention – and the irony of Dermot being the brains and his wanting to kill the term had helped him to live?

MANCHESTER BY THE SEA

US, 2016, 137 minutes, Colour.
Casey Affleck, Lucas Hedges, Michelle Williams, Kyle Chandler, Tate Donovan, Josh Hamilton, Gretchen Moll, Matthew Broderick.
Directed by Kenneth Lonergan.

Writer-director Kenneth Lonergan must have a great love for Manchester-by-the-Sea?, a fishing town on the Massachusetts coast – even during the credits he has many loving shots of the water, the islands, the coast as well as the town itself. He is able to communicate the atmosphere of the small town and its life – and its place by the sea.

This is a very moving film, a very humane film which ordinary audiences can readily identify with.

This is the story of Lee Chandler, one of his very best performances from Casey Affleck who anchors what is quite a long film. We find him as a handyman working in Boston, able in his maintenance jobs but subject to criticism and clash with clients, sometimes more than a touch abrasive. He lives alone. He drinks alone in bars. He sometimes breaks out in anger and brawling. As yet, we don’t really know how he ticks, what motivates him.

The next step in the narrative is his getting the news that his older brother, Joe (Kyle Chandler) has died from heart disease. Lee has to go to the hospital in neighbouring Beverly to see his brother and then arrange funeral matters, and then to Manchester to see Joe’s son, Patrick (Lucas Hedges), a great favourite with his Uncle Lee.

As Lee drives we begin a series of flashbacks which gradually reveal the family story, Lee’s marriage to Randi and their three children, Lee and his fondness for Patrick and their expeditions on the fishing boat at sea with Joe and his partner, George. We find that the family had known that Joe had a heart condition but that his wife (Gretchen Moll) could not deal with this, was alcoholic and walked out.

Gradually the film builds up the portrait of Lee, giving the audience a sudden shock when it is revealed what has damaged Lee and his wife and caused their separation.

The film is also a portrait of Patrick, a 16-year-old, sometimes on the aggressive side at hockey practice, fancying himself with the girls, in fact having two in tow and wanting his uncle to keep his secrets safe. Patrick finds it difficult to express his grief – and is particularly upset because it is winter, the ground too hard to dig a grave and so his father will have to be kept in a freezer in the morgue.

But it is the issue of what is to happen to Patrick with his father’s death, contact with his mother or not, Lee becoming his guardian as his brother wanted him to, even providing the finance for support, the house, the boat, but Lee very hesitant and wanting to go back to Boston, not wanting to stay in Manchester, and Patrick wanting to stay in the town which he knows well and with all his friends.

The acting is very strong with the two central leads but also with Michelle Williams having some very telling scenes as Lee’s wife, Randi.

The screenplay is down-to-earth (with quite a lot of contemporary swearing) but also has insight into human nature, feelings and emotions, conflicts and the need for decision-making.

Considered one of the best films from the US in 2016 – much to commend it.

1. Acclaim and awards for the film? Kenneth Lonergan as writer-director? The cast?

2. The images of the town, the Massachusetts coast, the sea, Islands, the boats, fishing? Homes, school? Neighbouring towns, hospital, roads? Boston, the streets, apartments, maintenance work?

3. The musical score, the selections from Handel and other classics? Songs, Beginning to see the light…?

4. The narrative direction of the film, a portrait of Lee, Casey Affleck’s performance? In Boston, his maintenance work, the encounter with the various clients, his manner, the clashes, the superintendent? News of his brother’s collapse, driving to Manchester? Coping with the experience? His personal grief and memories? The importance of Patrick, his memories? The will, the issue of guardianship? His reflection for his decision?

5. The insertion of the flashbacks, the effect, Lee’s memories, the picture of his family, scenes at home, Joe and his illness, the discussions in the hospital, his wife’s tantrum, the father’s calmness? The tragic night, cards with his friends, drinking? Randi and her reprimands? Going to the shop, coming back and seeing the fire, the bodies of the children, Randi being carried in the ambulance? The later interrogations, his explanation about what had happened? The consequences of grief, pain and anger?

6. Lee in himself, ordinary man, younger, relationship with Joe, with his father, Joe’s illness, the friendship with George, on the boat? The effect of his own family tragedy? His aggressive attitudes after drinking, brawling in the bars? Moving to Boston, trying to cope?

7. Joe, a good man, older brother, good son, his age, his heart condition, collapse, the discussion in the hospital, his life expectancy? His wife, drinking, her leaving? The scene of her on the couch and his covering her? With Patrick, as a boy, fishing, with Uncle Lee? With George, his sudden collapse? Identifying the body, in the morgue, no burial because of the frozen ground, his body being kept frozen in the morgue, Patrick and his reaction?

8. Patrick, his age, seeing him as a young boy, on the boat, fishing, relating well to his father, to his uncle? The news of his father’s death, with the hockey, the fight, the role of the coach, handling the news? Merely glimpsing his father’s body, yet upset that there was no funeral, his body in the freezer? Staying with Lee, the girlfriend, his friends, the conversation after the death? The Star Trek argument? His concern, going to see Sandy, staying with her, the sexual attempts, asking Lee to cover for him? Sandy’s mother, Lee refusing the meals, going in, no conversation, the effect on the mother? Patrick and his moods? The response to the will, the boat, selling his father’s guns to buy a new motor? Working with George?

9. The will, the lawyer, Lee as guardian, Joe providing the cash for Lee and Patrick, the house, Lee and his memories as he listened to the will? Not wanting to be guardian, the delay? Patrick’s reaction? The meal with George and his wife, the discussions about adoption?

10. Randi, tough, love for her children, strong with Lee, ousting his friends, the experience of the fire, in hospital, the death of her children? Leaving Lee, the new partner, the phone call, announcing her pregnancy, wanting to come to the funeral, her presence at the funeral? With the baby? Encountering Lee on the street, want to express her feelings, her love for Lee, Lee unable to listen, leaving?

11. Patrick, the communication with his mother, the phone call and Lee hanging up, the email, the visit, her sprucing herself up, a new partner, the religious background, the meal, saying grace? Table discussions, the edge, her going into the kitchen… Her possibly drinking? The later letter from her partner asking Patrick to go through him, sensitive about his mother?

12. George, the partner with Joe, a good man, on the boat, with Joe at his death, at the hospital, with Patrick, the issue of the motor, Lee and his meal, their agreement about the adoption, their own children?

13. Lee, looking for local jobs, the hostile wife and rejection? His decision to go back to Boston? Getting an apartment, jobs, maintenance, having two rooms, for Patrick to visit?

14. Patrick, the values of having his family, of being loved, his finally weeping, the experience of the funeral? Their visiting the grave, the tombstone?

15. The quiet ending, Lee and Patrick fishing, the prospects for the future?