RACHIDA

Algeria, 2002, 100 minutes, Colour.
Ibtissem Djouadi.
Directed by Yamina Bachir.


A glimpse into life in Algeria and the experience of local terrorists.

Rachida is a young teacher who refuses to plant a bomb in her school. The consequences are that she is shot, not fatally, and leaves with her mother to find a new life in a village. But there is no escaping the terrorists.

The point of view of the film is that of women, from the director to all the principal roles. As in more recent films from Iran, Morocco and Tunisia, there is a strong stance on the growing independence and dignity of women, a critique of the inhuman aspects of cultural patriarchy.

While the general issues and style of the film might be familiar, there is an intensity of feeling that makes demands on the audience.

1. An Algerian film, female point of view, director, characters?

2. Audience familiarity with Algerian history, war between 1991-2002?

3. Locations, Algeria, town, countryside, homes, school? Score?

4. The information about the war, the parties, political stances, use of force, 200,000 deaths? Terrorism, woundings and killings?

5. In the light of subsequent history in northern Africa and Arab Springs?

6. Rachida’s story? In herself, her work, her enjoyment of teaching? Boyfriend? Steady life? Sunni background?

7. The former student, terrorist, wounding her?

8. The consequences for Rachida, recovery, her life, support for her, stronger?

9. Rachida as symbolic of the nation of Algeria and its civil war and terrorist experiences?

 

 

 

 

GUY

UK, 1996, 95 minutes, Colour.
Vincent D'Onofrio, Hope Davis.
Directed by Michael Lindsay- Hogg.

Guy is something of an experimental film. The plot concerns an anonymous woman behind the camera making a documentary by following an initial stranger in all the details of his day by day life, public, private. The woman is mostly heard rather than seen, although she is seen in a few sequences at the end and is played by Hope Davis.

There is an ambiguity about the name of the hero, Guy, an ordinary guy, perhaps a 20th-century ordinary Every man, played by Vincent D'Onofrio? who had made an impact in Kubrick's Full Metal Jacket as the put upon recruit and who was to appear 20 years later as one of the new Magnificent Seven, with a very strong screen career in between.

The film raises all kinds of questions about observing, privacy, invasions of privacy, the effect of being closely observed, the issues of how intimate the photography should be, a scene of Guy relieving himself, a sexual encounter with his girlfriend.

The main point of the film is that the audience has to identify with the woman, sharing her camera point of view, the audience observing guy, looking at him, listening to him, listening to the dialogue with his objections to what is happening, his changing his mind, the relationship to the woman and the kind of intimacy that her documentary filmmaking creates.

The films directed by director, Michael Lindsay Hogg, prolilfic television director whose films include Nasty Habits and The Object of Beauty.

1. The title, a generic title, the particular Guy, any guy in the street, a 20th century ordinary Everyman figure?

2. The Los Angeles settings, the busy streets, homes and apartments, restaurants, driving in the car? The musical score?

3. The premise of the film, the woman and her documentary, filming her subjects, continually with them, in every circumstance, invasion of privacy, the prurient city?

4. The opening, the detective talking to camera, his investigation, his return at the end of the film, his inability to find guy?

5. The personality of the woman, behind her camera, hearing her speak, the situation in which she put herself, her insistence and persistence, filming Guy, his business associates, his girlfriend, the previous subject of her film? Very few glimpses of her as a person? A character revealed by the film, her determination, not wanting to be involved, detachment, the change in perspective over the film?

6. Guy, ordinary, a man in the street, his appearance, manner of speaking, clothes and style? His reaction to the woman, confronting her, running away, the reaction to her continued pursuit, her being in the car with him, going home, invading his house, coming out of the shower and his surprise, travelling with her, arguing with her? His condemnations, wanting her gone? His reaction to her persistence?

7. Meeting the business partner, relationship with her, her reaction to the film? The client, his job in seeking out cars for remodelling, the client not wanting to be filmed, not wanting the deal? His encounter with his partner, phoning him, the arguments, the partner and his reaction to the filming? Later going to the house, Guy losing his job?

8. The discussions about privacy, relationships, going to his girlfriend, the woman and her wanting to film Guy and the girl, his wearing the microphone, the discovery, the explanations? The girl, talking with the woman, the agreement about the sexual behaviour, her ordering Guy out of the house?

9. The discussions about the effect of being watched so intensely, with the camera, a perspective and the feeling of being observed? The effect on Guy, a certain attachment to the woman? Discussion about sexuality? Her backing off?

10. Guy, final exasperation, the effect on him of the relationship? Disappearing?

11. The sequence with Mark in the street, the past film, his attachment to the woman, her sending him away?

12. The irony of his photographing the woman, her comments, his anonymity? Her life being observed?

13. The effect for the audience? The audience becoming the woman and her point of view, the perspectives on Guy, observing, listening to him, dialogue with him?

 

AN IDEAL HUSBAND

UK, 1998, 90 minutes, Colour.
James Wilby, Sadie Frost, Jonathan Firth, Trevyn Mc Dowell, Robert Hardy, Karen Hayley, Prunella Scales.
Directed by Bill Cartlage.

An Ideal Husband is a celebrated play by Oscar Wilde. Not quite as famous as The Importance of Being Ernest, it has been continually performed on stage for over 100 years and there have been significant film versions, one of the 1940s with Paulette Goddard and Michael Wilding, a lavish version in 1999 with Jeremy Northam, Cate Blanchett, Julianne Moore and Rupert Everett.

This film, with a much smaller budget, more like a production for television, was released the year before the 1999 version. Its cast is not so well-known, though James Wilby had a career in performing similar kinds of characters (for example in the version of E. M. Forster’s Maurice). It is certainly a surprise to see Sadie Frost, not the greatest of actresses, as Mrs Cheevley, though it is pointed out that the actress is much the same age as Wilde’s Mrs Cheevley, rather than an older, more mature woman.

Perhaps much more effective is Jonathan Firth, Colin Firth’s brother, as Arthur Goring, a more complex character, with much of the witticisms and self-deprecation of Wilde’s dialogue, involved in his friendship with Robert Chiltern and his wife, and in love with Robert’s sister, Mabel. There is a bonus in having Robert Hardy as Arthur’s father, continually criticising him. And Prunella Scales has a few scenes as Lady Markby.

The originality of this version is that it is set in the 1990s, in a rather sophisticated and sometimes swinging British country city, an emphasis on local politics before national politics, a background of business deals, integrity in politics and the doing of shady financial deals. Which means that Robert Chiltern is not necessarily an ideal husband and his past is exposed, and he is threatened by Mrs Cheevley and her letter so that he will promote her cause, something to which he is quite opposed, in Council meetings. His wife holds him on a pedestal but is caught in an emotional trick by Mrs Cheevley and has to modify her stances.

While the other film versions make a greater impact, this one is interesting in hearing Wilde’s dialogue a hundred years later in a modern setting as well as the adaptation to England 100 years on.

1. The status of Oscar Wilde’s play? Continually in theatre? Film versions? The 1940s, the 1990s?

2. Wilde and his dialogue, wit, satire? Creation of characters and interactions? Compromising situations? The play in the 1890s?

3. This version updated to the 20th century? How well did this work? In terms of the characters, the dialogue and repartee from the 19th century? The political situation? Political blackmail? Integrity and politics? Ideals, falling from ideals? Perfectionists and their having to admit reality?

4. Robert Chiltern as an ideal husband and politician? His career? His relationship with his wife, his ambitions, her supporting them? His relationship with his sister? His friendship with Arthur? The party and the appearance of Mrs Cheevley? The discussions, her plan, moneymaking, having the document, the blackmail, the deadlines? The effect on Robert, agreeing to her demands, saving his political life? The tension with his wife and her ideals, her persuading him to write and deny Mrs Cheevley? The discussions with Arthur, his admission of the past, the influence of the Baron and his financial advice, the visualising of this in flashbacks? Audience response to the case, his integrity? His decision to give the speech in Parliament, Lord Caversham and his praise? Confronting Mrs Cheevley, her retiring?

5. Mrs Cheevley, her past, living abroad, the relationship with Arthur, his breaking it off? Her appearance, her dress, seductive, young? Her plan, the business deal, the money, having the document against Robert? Threatening him? Her visit to Arthur, his clash with her? After finding the brooch, her claiming it, his knowing it was stolen after he had given it as a gift? Not releasing the spring? His hold over her, the potential of the police, her backing out? Yet her sending Gertrude’s note anonymously to Robert? And Robert interpreting it as Gertrude’s love and trust for him? Motivating him to make the speech?

6. Gertrude, a proud woman, not liking Mrs Cheevley, memories of school days, hostess at the party, relationship with Mabel? Robert telling her the truth, her shock, wanting integrity? Her note to Arthur? Not going? Having to admit the truth about the note to Robert, her realising that she was vulnerable to less than perfect action? The reconciliation?

7. Arthur, man about town, his way with Oscar Wilde’s words, his father’s continued criticism of him? His love for Mabel? Her mistrust? Arthur and his discussions with Robert, the issues of integrity, the note, the bracelet, Mrs Cheevley, burning the document, the police hold over Mrs Cheevley? His proposal to Mabel?

8. Lady Markby and her association with Mrs Cheevley, bring her to the party, the next day, lady Markby and her social style and chatter?

9. Lord Caversham, the uppercrust, continuing to criticise his son, as a wastrel? His praise of Robert? Happy that his son was engaged?

10. Robert and his decision to resign, Gertrude having to confess to him, persuading him to go on and put the past behind him? Roberts forbidding Arthur to marry Mabel – and then the change?

11. The dramatic intrigue, the emotional intrigue?

RUIN

Australia/ Cambodia, 2013, 88 minutes, Colour.
Sang Malen, Rous Mony.
Directed by Michael Cody, Amiel Courtin- Wilson.

Ruin won prizes at the Venice film Festival in 2013. It has had limited release.

Director, Amiel Courtin- Wilson has made several interesting films, collaboration with groups and amateur actors, especially his drama, Hail, collaborating with a former prisoner and dramatising his life story and what happened when he was released from prison.

This time, Courtini- Wilson and his co-director, Michael Cody, have travelled to Cambodia, working with amateurs again, using the Khmer language except for one character speaking in English, a venture which had them observing Cambodian life, many of the squalid aspects of life. The film was supported financially by Australian funding agencies.

For the first couple of minutes, impressionistic colours and movement pervade the screen until the camera moves down into the city of Phnom Penh, following the central character, Phirun, as he tries to work in a factory, the butt of attacks by fellow workers. Then there is a transition to a dingy room, a brothel room where a pimp is severely berating, physically and verbally, a young prostitute, Sovanna.

When each of the characters escapes their oppressive situation, they walk down a market Street together, gradually relating to each other, helping each other – which leads to a journey that could be partly their ruin, but is a journey with some degree of hope.

The film is very dark – and often visually dark as the two move through the countryside, come to a river, cross the river and find some children and accepting adults as well as some peace – but after some violent encounters including a killing and Sovanna having to deal with a sexually aggressive client.

For many audiences, the film would be something of an experiment, an invitation to go into the poor areas of the Cambodian city as well as into the back blocks, challenging people to think of the oppression of so many millions in Asia.

1. The impact of the film? Visuals? Impressionistic? The narrative?

2. Filmmakers, this style, interests, the use of the Khmer language?

3. The locations, the observation of Cambodian life by outsiders? Identifying with the characters? The challenge?

4. The title, as experienced by the Phirun and Sovanna? A world of ruin – and possible recovery?

5. An Australian- Cambodia co-production, the Australian presence In Cambodia, Australian finance, technical aspects?

6. The long visual and impressionistic introduction and setting the tone?

7. Phnom Penh, the city, squalid, the factories and their interiors, the brothel and the room, the toilet? The markets, the fishmarket, the streets, the boats? The musical score?

8. Phirun’s story, his appearance, in the factory, wanting work, the attack, his wanting respect, violence, his leaving?

9. Sovanna story, the harshness of the pimp, brutality, physical and verbal abuse, humiliation? The talk about her clients? The toilet, the water, the people arriving, her running?

10. On the road, the city street, survival, the rooms, fear of being moved on, being together, the mat for her sleeping, offering the food?

11. The development of the bond between them, help, dependency, continually moving?

12. The journey, going out of the city, the interiors of the hearts, surviving?

13. The violence, the man with his throat slit? Sovanna and the client, his talk, the sexual activity – and her ultimately killing him?

14. Going on the boat, the boatman, the remote location, the children, the family, the celebration?

15. Peace, security? The final image of the two profiles – and the vision of the stars?

TINKER BELL AND THE GREAT FAIRY RESCUE

US, 2010, 76 minutes, Colour.
Voices of: Mae Whitman, Lauren More, Michael Sheen, Lucy Liu, Raven- Symone, Kristen Chenoweth.
Directed by Bradley Raymond.


A follow-up to Tinker Bell and the Lost Treasure. Fans of that one should look forward to this one. But, the question (especially for adult male reviewers) is: who are the fans? It would seem that the niche audience is tots, little girls, aged from three to six (maybe two to seven), who would enjoy this kind of fairy story, a visual equivalent of playing with dolls. There is not much testosterone in evidence (although the screenplay was written by four men), although, to be fair to Tinker Bell, she is a mechanic at heart and spends some time in amazement at the new horseless carriage and determining how it works. She likes fixing things.

For the parents who watch the film with their daughters (the sons being in an adjacent cinema), there is the playful atmosphere and a story about a scientist and his daughter who discovers the fairies. There is a puzzle too. When the film is set in England and where the father and daughter (Michael Sheen and Lauren Mote) have very British accents, how come it is inhabited by fairies with very, very American accents?

There is a final tribute to Peter Pan author, J.M. Barrie, who created Tinker Bell, acknowledging his support for the Great Ormonde Street Children’s Hospital. Oh, and the plot? The fairies try to keep away from humans and remain secret but Tinker Bell gets caught in a fairy house and the rest get lost and have to find their way home.

KITES/ BRETT RATNER PRESENTS KITES: THE REMIX

India, 2009, 123 minutes, Colour.
Hrithik Roshan, Barbara Mori.
Directed by Anurag Basu.


Quite a deal of ballyhoo promoting this Indian thriller romance. The international version, at 2 hours, was released with some popular success in India and in the US. Then, a week later, Kites: the Remix was released, a cut version, supervised by Brett Ratner. This review is of the 2 hour version.

Not quite sure what the ballyhoo was all about and what it was for – it is a mixed bag as entertainment. The Indian film-makers have gone to the US and filmed in Las Vegas and in New Mexico. That is more than a bit exotic for the home audience and, maybe, a draw for an international audience. However, it is highly (highly) melodramatic with a Bollywood visual style, bright colours, intense close-ups and some of the new found freedom in showing relationships.

J has moved from India to the US and, while working as a dance instructor, serves as a repeat husband for women wanting to become US citizens or get green cards. When he is pursued by the daughter of a crooked casino owner (also from India) and wins a dance competition with her, her father is so pleased, he invites J to become part of his organisation and to the engagement party of his son. But, he is to marry the last of J's illegal spouses and he persuades her to run away with him.

So, after the Nevada glamour, there are several chases (in one, the cars burst into flame almost before they crash; in another, there are no fires), shootouts as angry jilted gangster pursues J and his woman. When you think the film is going to end, there is more, especially in terms of happy marriage, revenge and an ending of amour fou that will raise an eyebrow or two.

For emotional temperaments who like melodrama. Otherwise, a bit too much.

VILLAGE OF THE DAMNED

US, 1995, 99 minutes, Colour.
Christopher Reeve, Kirstie Alley, Linda Koslowski, Michael Pare, Meredith Salenger, Mark Hamill, Thomas Decker, Lindsay Haun.
Directed by John Carpenter.

Novelist John Wyndham had a strong reputation in the 1950s and 60s with his science-fiction, The Day of the Triffids as well as The Midwich Cuckoos, the latter of which was filmed as Village of the Damned.

This remake, transfer to the United States, appeared 35 years later and was directed by John Carpenter, best known for his horror films including Halloween as well as such films as Escape from New York. Carpenter was also responsible for the musical score of his films.

The setting is a small town in California, the film opening by setting the scene, introducing the central characters, everything normal as they prepare for a local fair. Suddenly, everyone collapses, humans, animals, birds and are unconscious for six hours. police and military take charge, especially a government official, a doctor played by Kirstie Alley.

When everything seems to come back to normal – although there is a death at the barbecue and the school principal’s husband, Michael Pare, is killed in an accident on the way home – it emerges that the women of the town are all pregnant. Christopher Reeve (not long before the accident which made him a quadriplegic) is the local doctor. The expert tells the women that they are free in decisions about having their child – and all of them do go through with the birth – and there is a government financial subsidy.

The children are born and, as they grow up, they prove to be very intelligent but also malevolent, the camera focusing on the colour of their eyes as they read minds and force parents to hurt themselves, kill themselves.

Eventually, the children want to take over, go to work in a barn the edge of the town, after causing more deaths including that of the local priest, played by Mark Hamill. However, the doctor had taken one child to study it and that child’s companion, David, son of the school principal, Linda Koslowski, goes to the cemetery searching, begins to have some emotions, something which the leader of the children, Mara, Alan’s daughter, says is something inferior.

Ultimately, there is military and police mayhem as the children control the squads coming to attack them – but Alan, blocking their reading of his mind, prepares explosives with which he will destroy the children, sacrificing himself, allowing them school principal to escape with David.

Although the film seems somewhat conventional as it opens, as it develops, it plays rather well and with some suspense.

1. The reputation of John Wyndham, his novel, the Midwich Cuckoos, the 1960 version of the novel, Village of the Damned, British production?

2. A remake, adaptation to California? The village, the characters, the experience of the attack, the pregnancies, dealing with the pregnancies, the children growing up? The nature of the children, their dominance, malevolence? Confronting the children?

3. The California countryside, the village, the coast, the cliffs? Homes? Church? School? The fair? The barn? laboratory? The musical score?

4. The establishing of the village, people waking up, Alan and his wife, Jill and her husband? The preparation of the fair, everybody busy, Jill’s husband going to get the helium, Alan and his work as a doctor?

5. The suddenness of the attack, everybody collapsing, the cattle, the bird in the cage, the police? The arrival of the authorities, the military, the police, Susan Verner and her command? The testing of the atmosphere, the policeman collapsing, dragging him back? Everybody suddenly rising – resuming life, the man dying on the barbecue? Jill’s husband, driving back, the shock, his crash and death? The sadness of his funeral?

6. The role of the priest, his wife, at the fair, at the funeral, his sermon attacking the children and their malevolence? Confronting them, his shooting himself?

7. Alan, the women coming to him, signs of pregnancy, the widespread pregnancies, even Melanie Roberts, virginal? The woman whose husband was away and his leaving?

8. Susan Verner, the talk in the hall, letting the women be free, their all opting to have the babies? The husbands, Mr Roberts and the double grant for wife and daughter?

9. The medical assistance, the birth of the children, Susan taking one of the children, Melanie’s baby, saying it was dead, hiding it in the basement?

10. The effect of the children, their growing up? Mara, leader, along with Robert? The children and their piercing eyes and colour? Her control of her mother, her arm in the boiling water, going to the cliff, throwing herself down? The doctor and the eyedrops?

11. David, building his name with the blocks, going to the cemetery, looking for his partner, the discussions with Jill, some feelings and emotions? His being different?

12. The control of the children, the uniforms, going in pairs? Melanie in the cemetery? Her death? The priest and his death?

13. Alan, children reading his mind, his providing a barrier, imagining the sea, imagining the brick wall? Jill’s request that he give classes? The children knowing everything? Mara and her control?

14. The decision to go to the barn, the parents dropping them off? The father who was away, returning, looking for his daughter, the crash and his death?

15. Susan Verner, showing the child to Alan? His decision, with the children in the barn, preparing the explosives? Locking Jill in the room?

16. Jill, getting out, driving, rescuing David?

17. The police, the military, the control of the children, the violent shootings, mayhem?

18. Alan, in the room, Mara trying to break down the wall in his imagination, his continually looking at the clock, the building of suspense, the seconds passing? Jill rescuing David? The explosion, Alan sacrificing himself?

19. Jill, driving away with David – what future?

GLASSLAND

Ireland, 2014, 93 minutes, Colour.
Jack Reynor, Tony Collette, Will Poulter, Michael Smiley, Harry Nagle.
Directed by Gerard Barrett.

Glassland is a very good film and for those interested in alcohol addiction, the consequences for family relationships, especially mother-son, the film is a must. On the other hand, audiences wanting entertainment will find the film too demanding.

The film was written and directed by Gerard Barrett, age 27 at the time, having made his first feature film, Pilgrim Hill, about a middle-aged farmer and his relationship with his father. This time the central character is a young man, a taxi driver, a decent man who tries his best but is caught up in the need for financing his mother’s recovery and doing jobs collecting young women in his taxi and driving them to specified destinations, something which makes the experience harrowing for him.

He is John, played by Jack Reynor, who won a special Jury prize at the Sundance Festival in 2015 for his performance. Tony Collette, who is reported to have filmed all of her scenes in just six days, gives a tremendous performance as his mother, alcoholic, her son cleaning up after her vomiting, her quiet times, her rages in the kitchen and breaking crockery… But she has an important sequence, well worth seeing, where she explains to her son her marriage, her relationship to her husband, a son whom she has not followed up, her love for John, but her inability to relate to her younger son who was born with brain deficiencies, seeing him as a thing, unable to touch him.

Jack Reynor has a very powerful scene with Tony Collette where he upbraids her for her behaviour, expresses his desperation, makes a plea, a dramatisation of the plight of a young man like this who does care about his mother.

Harry Nagle portrays Kit, seen at the institution where he lives, where his brother visits him, even bringing a card from his mother which he has written for her.

Michael Smiley is also very good as a former alcoholic who runs a care centre, gives advice to John, takes in Jean but has to move her on for further care.

The mood throughout the film is bleak. Some audiences may find it too hard to take. But, it is worth it.

1. A significant film about addiction and mother-son relationships?

2. The director, aged 27, his career, family relationship subjects?

3. The Dublin setting, the house and its interiors, doctors, counsellors, the countryside? The Dublin streets, especially at night? The musical score?

4. The title? Significance?

5. The film as a portrait of John, his age, a good man, his life as a taxi driver, his friends, helping them out, with Shane, at home, playing computer games, not having a passport so not able to leave Ireland with Shane, the strong friendship, the farewell? John and his appearance, at home, waking up, making breakfast, the routines? His love for his mother, the growing concern about her, cleaning up after her? His love for his brother, going to visit him, playful together, bringing a card from his mother? The father and his love, dancing with his mother, disappearing after Kit’s birth?

6. Jean, her age, drinking, being sick, collapsing, going to the doctor, the warning about her health, drinking herself to death, the need for a liver transplant? Her sullenness, her outbursts of anger, breaking the crockery? Her quiet times? Her explanation of herself – memories of her husband, happiness, the older son and her dismissing him from her memory, her love for John and dependence on him, her inability to face Kit, the birth, not wanting to touch him, seeing him as a thing? Never visiting him? The important scene of her frank talk with John and her explanations? John’s important scene and his challenging her, desperate, to persuade her to go for help? Her going, some kind of improvement, the expensive centre for her recovery? Some hope?

7. John, his ordinary life, the hard work, not having enough money, the frank talk with Jim and Jim’s explanation, Jim’s own experience? Helping out with some money? Making an appointment for the recovery centre? Jim as a good man?

8. The effect on John, dealing with his mother, becoming desperate, moments of outburst, love for Kit? The money, the contacts, the human trafficking, collecting the girls, driving them to destinations, the last trip, the girl in the car, his getting out and walking around, trying to come to terms with his life, imagining his mother loving Kit, getting back in the car, driving the girl to the destination?

9. A powerful drama on mother-son relationships? A significant film, especially in the scenes with Jean and John about the nature of alcoholism, the reasons, alcohol as a friend which never lets down, always there, comfort in loneliness? The will to change and the necessary support?

BAD SANTA 2

US, 2016, 92 minutes, Colour.
Billy Bob Thornton, Kathy Bates, Tony Cox, Christina Hendricks, Brett Kelly, Ryan Hansen, Jenny Zigrino, Jeff Skowron, Octavia Spencer.
Directed by Mark Waters.

The original Bad Santa lived up to its name. The sequel, over a decade later, capitalising on (or exploiting) a perceived greater freedom in what can be up there on the screen, to be seen, to be heard, Bad Santa 2, certainly lives up to its name!

Santa is bad in his attitudes (amoral, sexist, racist, criminal – but with a dollop or two of sentiment), in his behaviour, in his language, actually in most things. But, if you do decide to go to see the film, then just wait till you see and hear Willie’s mother.

Billy Bob Thornton is once again Willie Sokes, a criminal type, rather gaunt this time and looking much the worse for wear, with an ability to open safes within three minutes. His mother is having timeout for good behaviour (something which she can charmingly simulate when she wears her Santa outfit) but is a harridan of the worst and loudest kind, having spent most of her time in prison, absolutely despising her son, self-centred, greedy – and anything else you can think of.

Come to think of it a number of the cast also have the opportunity to display some badness, Christina Hendricks is the head of a charitable organisation, attending AA meetings, ready for sex at any time. Tony Cox reappears from the first film, a dwarf actor, frequently the butt of some politically incorrect jokes about height. Even Octavia Spencer has a more lascivious scene than she normally does. However, there is one nice character, Brett Kelly reappearing as The Kid from the first film, now Thurman, a touch of autism, devoted to Willie, seeing good in everyone. He is now 21, follows Willie around, even coming to Chicago to find him when Willie goes to do a job on the safe holding the funds for a charitable organisation for children at Christmas.

Quite a lot of the film is taken up in four lettered repartee (and, often, more than four letters). And, quite a lot is taken up with the bickering, especially between mother and son. Billy Bob Thornton does not communicate a sentimental type on screen and, for the most of the film, it would seem he couldn’t care less – but he does have a soft spot for Thurman, tries to help him, is actually touched by the devotion and, would you believe, his eyes moisten as he listens to Thurman singing Silent Night at the concert.

There is a lot of farce in the robbery and in the getaway and mutual betrayals.

In many senses, going to the film is something of a guilty pleasure – may be more on the guilty than on the pleasure! But, what might keep us watching, even smiling (and even laughing) is the absurdity of it all, but played fairly straight. Unlike a lot of the campus comedies and such films as Bad Neighbours and Dirty Grandpa which invite the audiences in for something of a wallow in the bad and the dirty, Bad Santa is more of a pantomime, not pretending to be realistic at all, but creating exaggerated characters, giving them free reign, jolting us from our expectations of their behaviour.

The film can be described as black comedy – but under the heading of blackbad comedy.

BILLY LYNN’S LONG HALF-TIME WALK

Joe Alwyn, Garrett Hedlund, Vin Diesel, Steve Martin, Chris Tucker, Kristen Stewart, Mackenzie Leigh, Ben Platt.
Directed by Ang Lee.

The title is rather long and may take a moment to grasp, but it is worth the effort.

But this was apparently not the case in the United States where, within a week or more, the film was described as a flop. It has been pointed out that American audiences have not responded particularly well to the films made about the invasion of Iraq and the subsequent war, even the Oscar-winning The Hurt Locker, and not being a financial success. It is the action films which draw to the box office, like American Sniper.

This is definitely a film about Iraq with some close-ups of a particular action which involved Billy Flynn, the young recruit from Texas who had a rowdy adolescence with his father forcing him to enlist. Billy has shown some heroism in trying to rescue his wounded sergeant, which was filmed and has become a sensation in the media, leading to an entrepreneur bringing back the Bravo troop to do a morale-boosting tour which is to culminate at the half time interval in the arena at a Dallas football match.

This means that the film is definitely a piece of Americana, a glimpse of the war and battle and its effect, post-traumatic syndrome and the military wanting to deny this. It is a piece of Americana in the focus on the football match, all the hoopla, the cheerleaders, the dancing girls, including Destiny’s Child and (Kristen Stewart) who has facial and other scars from an accident he caused but who still supports him, wanting him to come home and not go back to Iraq. There are several flashback to the action, quiet bonding with the sergeant, a replay of the episode, especially at the end when it is seen in close-up, what Billy did and the combat with the Iraqi insurgent who attacked the sergeant.

So, while we see the men and their life in Iraq, Billy finding his place in the world as a soldier (and a fine performance from British Joe Alwyn as Billy), with the sergeant (a good role for Vin Diesel neither being fast nor furious), for the leader of the troop (Garrett Hedlund very serious about the war and the spirit of soldiers and rather resenting the carnival atmosphere of the show and the half-time walk), we see the producer (Chris Tucker also in a better role than his usual comic patter) and the businessmen sponsoring the show, the team as well as plans to make a movie of the episode – played by Steve Martin.

The romantic episode with a Christian cheerleader is less persuasive.

Audiences outside the United States will probably respond better to the film. The screenplay, and its presentation of a variety of characters, shift perspective pro and con the war, the criticism of the war, the celebration of military action.

And all this is the work of director Ang Lee who has had an extraordinary career for over 30 years, winning an Oscar for Crouching Dragon, Hidden Tiger, filming Jane Austen in England with Sense and Sensibility, winning directing Oscars for Brokeback Mountain and for Life of Pi, and showing insights into the United States with films ranging from Ice Storm, the Civil War drama, Ride with the Devil, and Taking Woodstock.

Lee used an experimental technique, 120 frames per second, which led to clearer content in each frame – but this was used only in two cinemas in the United States and, with the failure at the box office of the film, it has been screened in standard style both in the US and outside the US.

A film worth reflecting on and discussing, testing attitudes towards the upheavals in the Middle East.

1. The title, the tone, its meaning? A film about Iraq and the Middle East? About the United States? War, morale, the consequences?

2. The director, his perspective on American society? The range and variety of his films?

3. The locations, the settings in Iraq, in Texas, homes, the football stadium, offices, the field? The pageantry? The musical score, the range of songs, Destiny’s Child, the Star Spangled Banner?

4. The experiment in the film making, 120 frames per second, the content of scenes – but this format finding very limited exhibition?

5. The film as a piece of Americana, of the 21st century? The background of the invasion of Iraq? Weapons of mass destruction? Toppling Saddam Hussein? President Bush and American involvement, allies? The effect on Americans? For and against the invasion? The effect on patriotism? The effect on the military personnel, stress and strain, involvement, post-traumatic stress? The effect on the Iraqis themselves? Seeing the soldiers in action – the raid into the home, the behaviour of the American soldiers, the family inside, suspects, guns, arrests, disappearances? The Iraqi fighters and insurgents?

6. The structure of the film, the focus on the event, the day, the football match, the half-time? Introduction to Billy, Dime and the men? Albert as the agent with his patter? Norm, the businessman, his wealth, plans? The effect on the men, the banter? Billy as the focus? The audience sharing his point of view? The progress of the day, the flashbacks, Billy and his home, Kathryn, the past and the accident, her scars, Billy’s reputation, his father enlisting him, going to Iraq, the squad, the sergeant, Dime? The situations in Iraq – the cumulative effect of the flashbacks?

7. The day in Iraq, his saying it was his worst day and yet honoured for it? The situation, the attack, the sergeant, the shooting, the snipers? The sergeant advancing, being shot, Billy advancing, listening to him, dragging him into the drain, the attack by the insurgent, Billy killing him? The build-up to the final visualising of the sequence?

8. The men as celebrities, American razzmatazz? Billy being filmed, audiences seeing the visuals of his heroism? Albert, the agent, on the phone, the deals, wanting to make the movie, his being with the men, the discussion about payment? The group going into Dallas, the limousine, Billy late? The camaraderie, the banter, the range of personalities, the ethnic differences? Dime and his command?

9. Going to the performance, their seats, the banter, movement, the clash with security? People greeting them, changing into fatigues, the explanation of positions on stage, the screens, the fireworks, the cheerleaders, the marching girls, Beyonce and Destiny’s Child? The applause?

10. For Americans, to what purpose this kind of spectacle?

11. The flashbacks to Iraq, the men, the sergeant, early talking personally with him, the good example, the effect, Billy and his stand alone on stage, Kathryn wanting him to stay home, Dime wanting him to return to Iraq?

12. The family, the father in his wheelchair, Kathryn, the past, Billy as rowdy, the accident, her scars, his father enlisting him? Kathryn phoning him, at the end, her meeting him, his leaving?

13. The cheerleaders, the girl, looking at Billy, the attraction, his smile, his nervousness, meeting behind the curtain, the talk, she being both sexy and devout Christian, Texan? The encounter? Later, his wondering about her, she coming to see him – and future contact?

14. The making of the movie, Albert and the deals, promises of cash, Norm, his wanting to make the film, the big man, in control? The meetings, Dime and his resistance, tough talk? Billy agreeing? Going back to the men, explaining the situation?

15. The day and its effect on Billy, on him and his family, on Kathryn, his decision to go back, finding his right place in soldiering?

16. The effect of the day on the other men? The end of the day, no movie? But the future?

17. The response of audiences, pro-war, anti-war? In the effect on soldiering and returning veterans?