THE FOUNDER

US, 2016, 115 minutes, Colour.
Michael Keaton, Nick Offerman, John Carroll Lynch, Laura Dern, Linda Cardellini, Patrick Wilson, B. J. Novak.
Directed by John Lee Hancock.

The press preview for The Founder was on the morning of Thursday 10th of November, under 24 hours since the news of the election of Donald Trump. Which means that our audience was thinking about the impact of Trump, the businessman, the showman, a powerful winner in the context of the capitalist United States. And here was the portrait of Ray Kroc, the founder of Mc Donalds (or so he claimed) and of the two Mc Donald Brothers who established their fast food company.

By the end of the film, one didn’t have an entirely favourable impression of Ray Kroc, his personality, his philosophy of persistence in business, which he saw as war, and the means he used to get his success – and, as with so many films of actual people these days, a clip of the real Ray Kroc appears during the final credits along with information about him and those associated with Mc Donalds.

Michael Keaton seems born to the role, something of a variation on the hyper- energised characters he has played over the decades. The film opens with Ray Kroc to camera, a huge spiel about his selling a machine to make multi-milkshakes, a vigorous sales pitch about supply creating demand, and posing priorities of chicken and eggs. It is rather overwhelming – then deflating, for him and for us, when he is instantly turned down. That is the history of Kroc, taking on many sales jobs, not quite succeeding, living on the road, in hotels, listening to personal development records, phoning his wife, growing away from her, a driven man.

At first he can’t believe the diner in San Bernardino, California, who put in an order for eight of his machines. He decides he has to go and see this enterprise and is amazed, as he lines up in the queue, at the speed of delivery, at the paper packaging, at the seats in the grounds of the diner, so gets talking with two middle-aged men, Dick and Mac Mc Donald (fine performances by Nick Offerman and John Carroll Lynch) who explain their processes to him, their history, the film recreating a day when they experiment with the designs of a floor plan for maximum efficiency and a group of men whom they rehearse, continually restructuring until they have what they want.

The two brothers are decent men, with a sense of honour, Dick with the initiatives and Mac as solid support. Ray is so impressed that he persuades the brothers that he should go in with them – and so begins the process of an entrepreneur, lacking in scruples, enthusing and gradually taking over Mc Donalds, forming a company, buying land on which his franchises can be built, recruiting the right staff who will keep to the formula and make sure that each Mc Donalds will be a place that families can come to. At the end of the film he explains to Dick Mc Donald that the secret of their success is the name, a name that most people can identify with – after all who would want to go to have a hamburger at Krocs!

The brothers are swept along by Ray Kroc, as are we the audience.

A line of dialogue in the film sums up Kroc’s approach – contracts, like hearts, are meant to be broken. He breaks the brothers’ hearts and does not honour the handshake contract he makes about their receiving 1% of Mc Donalds' profits. He breaks his wife’s heart (Ethel, played by Laura Dern, as a sad and lonely woman), divorces her and marries the wife of one of his associates.

So, this is the American capitalist dream writ large – the final credits mentioning that his wife, Joan Kroc, bequeathed very large amounts of money to the Salvation Army and other charities.

1. The title, Ray Kroc and his career and achievement? The Mc Donald Brothers and the launching of their fast food project?

2. The 1950s and the 1960s? The look, clothing, homes, cars, the cities, the countryside, the fast food outlets? The musical score, the songs – and the meaning of Spirit of the Sky as the finale?

3. The locations, fast food restaurants, the style of the 1950s, drive-ins, San Bernardino, the location for the diner, the McDonald? look, the arches? The other towns, the building of the franchises? Interiors, homes, offices? Restaurants?

4. The Mc Donald brothers, their ordering the mixers, the phone calls to Ray, their being very busy? The two brothers and the different personalities, Dick as serious, Mac as more open, inventive, supportive of his brother? Telling their story to Ray? It being illustrated? From New Hampshire, financial difficulties, going to Hollywood, driving for Columbia Studios, setting up the cinema, the stand, the experience of the depression? The development of their style, going to San Bernardino? The story of Dick’s plan, the detailed recreation of his getting the layout, the plan on the floor, the various workers, their role-plays and rehearsals? Perfecting the layout and technique? The difficulty with people and their expectations, not getting out of their cars…? The atmosphere of the grand opening, the little boy ordering the hamburgers, the people coming?

5. The opening with Ray, his spiel to camera, the issues of persistence, his theories of demand and supply, the chicken and the egg? Then seeing him being turned down? Packing the machine in the boot? His phone calls to his wife, life in the hotels, listening to the record for self-improvement in persistence? Away from home, the various attempts he had for sales? Refusals? Talking, drinking? The return home, Ethel and her reaction, the alienation between them? His taking her to the club, the drifting apart? Seeing Joan Smith at the restaurant? Ultimately the divorce?

6. Ethel, her experience of neglect, sad woman, loving her husband, wanting to be close to friends, going to the club, trying to be supportive, getting employees for her husband? His mortgaging the house, not telling her, her being upset, the quiet meal, asking for a divorce in the middle of the meal? The conditions – and Ray’s meanness towards his wife and not giving her one share in the company?

7. Ray’s faithful assisted in the office, his relying on her, her work, the lectures, her skills – and eventually rising within the company?

8. Ray going to San Bernardino, lining up in the queue, waiting, learning about instant service, his puzzle, the speed, the paper, sitting eating outside? Talking to the brothers, his friendliness, their giving him the full tour, telling the story, all their secrets? That of the others who had taken the idea and failed? Ray and his decision to succeed – and at the end, explaining to Dick Mc Donald that it was the name that was important, an ordinary name, that anyone could identify with? In this explanation in the scenes of the actual Ray Kroc during the final credits?

9. Ray’s communication with the Mc Donald brothers, their characters, decent, wanting to do the right thing, moving slowly, allowing themselves to be led, finding themselves trapped, the different contracts, Ray and his attitude that contracts, like hearts, were made to be broken? The example of the powdered milk and Joan’s suggestion? The issue of buying the land, the brothers saying no, Ray hanging up on them, Dick eventually hanging up on Ray? Ray’s attack on them, his visit, the deal, offering the blank cheque? The final legalities? The payout to the brothers? The handshake about the percentage and its never being followed up? Mac and his collapse, time in hospital, Ray’s visit with the flowers and the cheque? Ray continuing being mean-minded towards the brothers?

10. Ray, starting up the franchise, efficiency, appreciating the work of Fred Turner and his subsequent positions in the company and succeeding Ray? Ray and his detailed following the brothers plan, the quality of the cooking, the service, cleanliness? The discussion with his fellow golfers, their putting up their money, but changing the ideal of Mc Donalds, the burgers, introducing other menu items, young people hanging around, the litter, against the ideals of the brothers? The recruiting of the sales personnel and their making successes of the franchise? His varied speeches to Rotary clubs, to the Jewish community? Expanding, going to Minnesota, the restaurant, seeing Joan playing the piano, the attraction, Rollie, her husband and his interest in the franchise? The duet of Pennies from Heaven? Joan and her ideas about powdered milk? She and husband going to the business? Ray’s attraction, his divorce, marrying Joan?

11. Establishing the company, the bank and the loans, the debts and expenses, his being upset about his percentage, wanting to expand, going to the banks and their demands, mortgaging his house? His getting possession of the name, breaking the contracts? Asking his lawyers to make problems go away? At the bank, the advisor about land, his guiding Ray? (And later working for him but clashing and leaving?)

12. Ray, ultimately winning, the American capitalist, persistence, success, not being nice, business as war? The brothers unable to wage this kind of war and losing? The final talk with Dick in the toilet, the importance of the Mc Donald name?

13. Ray, preparation for his final speech, claiming to be the founder, looking back over his life, the comparisons with President Reagan?

14. The final information, the pictures of the actual characters, the information about their careers, Ray’s death, Joan and her huge bequests to charities?

15. And the worldwide success of Mc Donalds to the present?

MORGAN

US, 2016, 92 minutes, Colour.
Kate Mara, Anya Taylor- Joy, Rose Leslie, Michael Yare, Toby Jones, Chris Sullivan, Boyd Holbrook, Vinette Robinson, Michelle Yeoh, Brian Cox, Jennifer Jason Leigh, Paul Giamatti.
Directed by Luke Scott.

It is almost 200 years since Mary Shelley wrote her classic novel, Frankenstein. It was taken up in the 20th century, the subject of many novels, many variations on the theme of the hubris of creators who want to “play God� and create life. The archetypal story became very popular with the 1930s with the film of Frankenstein and the many cinema variations of the story. And, the popularity has continued into the 21st century. Morgan is one of the latest examples.

The film was shot in Northern Ireland, The action takes place in one of those remote locations in the woods, an old mansion with offices and accommodation but with a state-of-the-art laboratory for experiments and creation of facsimiles of life. This is a reminder of the laboratory in the woods and the new creature, again female, in the fine science fiction film, Ex Machina. Here it is Morgan (Anya Taylor- Joy.

The film opens with a young woman speeding through the countryside, very serious, dressed in black, definitely on a mission. This is Lee Weathers, sent by the executors of the company to make a report on the progress of Morgan. At the installation is a mixed staff, a manager, the scientist in charge of the project (Toby Jones), two scientists, two women who nurse and accompany Morgan, Kathy and Amy (Rose Leslie and Jennifer Jason Leigh) and a cook, Skip (Boyd Holbrook).

Lee meets everyone which enables the audience to have an introduction to the whole staff and what they do, although Kathy is in the infirmary, having been attacked by Morgan, something the audience has seen on the CCTV. Lee is very serious, almost robotic in her behaviour and communication, although there is a momentary touch of humanity following a romantic urge by Skip.

But, the assessment depends on the interview by the psychologists, Dr Shapiro (Paul Giamatti) who is to arrive the next day. When he arrives, he is bumptiously self-confident, wanting no glass partition between him and Morgan (as there is with everyone else). Apart from the attack that we have seen, Morgan, whom the staff think of as female but whom Lee stresses is an “it�, Morgan seems a pleasantly subdued and polite young woman (though it has only taken her five years of development to reach this stage).

Dr Shapiro might be a celebrated psychologist but he pays the price for his aggressive interrogation and demanding that Morgan imagine, “what if…?�.

It is at this point that the film become something of B-budget thriller with Morgan aggressively targeting all the staff except for her friend, Amy, wanting to go out into the countryside to a lake which they had visited previously – and Morgan had encountered a wounded animal which made an impact on her.

Ultimately, as we might imagine, it is a struggle between Lee, seemingly remarkably resilient, and Morgan.

There is a finale which brings themes together as Lee reports back to the affluent and ambitious executives (including Brian Cox), leaving us to ponder the questions about hubris, laboratory creations and experiments, the human issues, financial gains… The film was directed by Luke Scott, some of the celebrated director, Ridley Scott.

1. The archetypal Frankenstein story? 21st century? The creature, the makers? Hubris and playing God?

2. The Northern Ireland locations, the remote woods, the old manor, the laboratory, the interiors, the offices of the lab, the countryside, the lake? Musical score?

3. The title, the creation? The company, the experiments, the assessments and tests, company loyalty, the background of a tragedy in Helsinki? Sending Lee, her mission? Conducting the mission? Her report? The final meeting of the company executives?

4. Lee, in herself, robotic, serious, driving to the mansion, the gates, meeting Ted as director, Derren and Brenda and their role, Kathy and her injury, Amy companion in Morgan, Skip and his role as cook, the manager of the project? The controls? Waiting for Dr Shapiro? Meeting Dr Cheung?

5. The audience seeing Morgan, her age, appearance, clothes, hood, control, the mechanisms on hers and Kathy’s heads? The brutal attack on Kathy, damage to Kathy’s eye?

6. Lee meeting Morgan, talk, the glass between them, Morgan being polite? Lee and her discussions with the project controller? The personalising of Morgan and Lee calling her an it?

7. The creation of Morgan, the video of her childhood, the five years? Her calling the doctor mother? Her capacities, genderless, yet female in appearance? The staff and humanising her? The violence of her attack?

8. Walking with Amy, the countryside, the wounded animal, its dying, Morgan pulling at the stake?

9. The contrast with each of the members of the staff, the talking with them, Skip and the attraction, the kiss? Lee and her measured approach to everyone?

10. Dr Shapiro, arrival, brusque, his manner, not wanting any glass barrier, his self-confidence? Sitting with Morgan, the interview, his sharp techniques, her reactions, politeness, his accusations, the what if… questions? Her attack on the doctor, his brutal death?

11. The staff reactions, the tranquilizing darts, subduing Morgan, binding her? Her breaking loose, killing of the staff, Ted, Derren? The confrontation with the director and his death? Cathy getting out, the death?

12. The attacks, Morgan free, confining Lee, Lee breaking loose, climbing the tower, getting out?

13. Amy, taking the car, going to the lake with Morgan? Lee and Skip following, is rifle, reputation as a hunter? The pursuit? The chase, the crash of the car?

14. Amy, with the gun, going to the lake, talking with Morgan, the attraction of the water? Lee firing the shot, hiding, Morgan finding her, the fight, Lee’s resilience, pushing Morgan into the water, choking her? Amy and Skip? Deaths?

15. Lee’s return, the businesslike discussion of the executives? The failure of the Morgan project? Lee as a success, creation, robotic, capacities for recovery, to assume human roles?

16. Business and money, scientists playing God, financiers playing God? The effectiveness of the film as a Frankenstein fable for the 21st century?

BANG- BANG WEDDING!/ TO GAMILIO PARTY

Greece, 2008, 89 minutes, Colour.
Alex Dimitriades, Fay Ksila.
Directed by Christine Crocos.


This is a comedy about a wedding reception rather than a wedding – or all the things that can go wrong for the guests on the way to the reception. There is nothing religious about the film – the couple are seen at the church door going in, then cut to them coming out, and on to the reception.

It is a Greek production with Australian actor, Alex Dimitriades as the leading man.

The film give some background for the couple, he a fashion photographer who wants to move out of that industry into something more creative, she a diver and a protector of endangered species.

The film shows her father, a widower who has married again after the death of his wife, the new wife having taking over all the organisation. His mother lives in London and has a few problems, including a drinking problem. His father has married a younger American and lives in New York, organising a job with a magazine for his son – and the announcement of the new job causes a quarrel between the newlyweds and the wife going off, wanting her independence but also wanting all decisions to be made by them both.

Mistakes have been made with the maps for everybody to get to the reception. A driver is held up by goats crossing the road and the father of the bride’s car crashes into it giving a concussion to his wife who then suffers from amnesia, is taken to a vet, knows nothing of where she is, but, fortunately, is hit by a projectile and recovers her memory. The groom’s father gets into trouble, reappearing in his son’s life and offering him the new job. He is is upset but is helped by his new wife who uses some New Age meditation and breathing techniques to calm her husband down.

The maid of honour is late and gets a lift to the reception with three young men, one of whom has a gun and, when buying a few things in a shop, pulls it out instead of money, is pursued by the proprietor with a shot gun, the police then in pursuit. The car has a flat tire so they have to walk, coming to a party thinking it is the reception – but it is a rather hedonistic show, with some casual sex, spiced drinks and guest strippers dressed as policeman.

The people organising the reception are on hold and getting weary of waiting.

It depends on your sense of humour whether you find the characters and situations funny, the way that people handle them. Needless to say, everything works out happily the end.

LITTLE ODESSA


US, 1994, 98 minutes, Colour.
Tim Roth, Edward Furlong, Vanessa Redgrave, Maximilian Schell, Moira Kelly.
Directed by James Gray.

Little Odessa was the first film by writer-director, James Gray. He has made comparatively few features over the decades but most of them are quite striking, including We are the Night, Two Lovers, The Immigrant.

This is a dark film, set in winter, in Brooklyn, Brighton Beach and Coney Island, the area called little Odessa where Russian migrants lived, Russian- Jewish migrants.

It is also a film about gangsters and the Mafia, the ruthlessness of killers, inherent dangers and accidental killings as well as murders and executions.

The film focuses on two brothers, the older played by Tim Roth, powerfully ruthless, alienated from his father who was cruel towards him, a professional killer. Edward Furlong is the more introverted younger brother who has his older brother on a pedestal. The parents are played by Maximilian Schell, autocratic and cruel, while Vanessa Redgrave with a terminal illness. Moira Kelly plays the older brother’s girlfriend.

While there is action, this is also a film of reflection on the meaning of the American dream and how it can go wrong.

1. The title, the focus, Brooklyn, Brighton Beach, Coney Island? The section of Little Odessa? In the winter? Light and dark? The suburb scapes, the interiors? The musical score, the Russian songs?

2. The Russians in America, the Jews, living in exile, the American dream? Russian customs, language? The poverty? The presence of the Mafia? Gangs and violence?

3. A film of unhappiness, of exile in the United States, of criminal violence, of dysfunctional families, a clash between father and sons?

4. The music, Joshua’s eyes – and at the end? Assassinations, the gangsters, hard attitude toward violence?

5. The portrait of Joshua, the background of his family, alienated? The oppression by his father, his decision to leave, find opportunity? The jobs, watching the family, being seen, the hotel, Reuben devoted to him, the bonds between them, the meeting? The show, discussions, getting information about his mother, his father? His relationship with Alla? The gangs, his jobs, his being stalked? With his mother, his father? But not killing his father? His personal ruthlessness, his ability to kill, Alla’s death? On the boardwalk, his associates, the Mafia gangs, the shootings? Reuben’s death, taking him to the incinerator, alone with his memories?

6. Reuben, his age, the bike, the newsstand? An introverted young man, not wanting to go to school, sharing his mother’s pain, his being beaten by his father? The secret of the gun? His admiration for Joshua? The discussions, the outings? His seeing the killings? Taking the gun, the pursuit, finding Alla dead? His being behind the sheet? His being shot?

7. The portrait of the parents, the Russian background, the austere and strict father, beating his sons, their alienation, Joshua leaving, later accosting his father? His wife, a terminal illness?

8. Alla, local, love for Joshua, with him, going out to the cinema with Joshua and Reuben? Reuben staying at her house? The dangers? At home, the washing, her being shot?

9. Mafia codes, the dead, revenge? Joshua and his associates, the final shooting and Joshua’s grief?

SILVER CITY

Australia, 1984,
Ivar Kants, Gosia Dobrowalska, Anna Jemison, Steve Bisley,
Directed by Sophia Turkewiecz.

Silver City is a handsomely made, interesting and enjoyable film. it is one of an increasing number of films which focus on Australia’s migration history.

Writer-director Sophia Turkiewiecz has made a very assured first feature film. She has drawn on her family experience and her research in Poland and given audiences a picture of Poles arriving in Sydney after World War II.

She tells the story of a few of them. she shows their life in the Nissen hut compounds, Silver City, their attempts to find jobs. Family relationships, national traditions and adapting to the established Australian lifestyle cause tensions. Much of this is serious, sometimes desperate. Much of it is funny. all of it is moving.

Polish actress Gosia Dobrawolska is completely convincing as Nina – warm, attractive, strong and vulnerable. just the performance the film needs.Ivar Kants is a tense, quietly angry Julian.

Of the excellent supporting cast, Anna Jemison must be singled out as Julian’s estranged wife, Anna. Along with Steve Bisley, they have all received AFI acting award nominations.

A value of the film is the challenge it offers to the audience to appreciate what has happened in Australia in the previous four decades. We are invited to appreciate and understand the human wear and tear of the migrant experience.

A film that can be recommended to the widest audience.

1. An Australian film of the 1980s? The claim, impact, quality?

2. The period of the 1940s, postwar Australia? Atmosphere? Costumes and decor? The migrants, the ships, the buses, the camps, the countryside, the suburbs? The romantic score, the solving the refrain? The comparison with the 1960s?

3. The director, her perspective, a Polish background, the experience, the feeling?

4. Australian attitude to migrants after World War II? Traditions of migrants, succeeding generations and xenophobia? Sense of superiority? Attitude towards the wall? Migrants from Eastern Europe and Communist criticisms? From the Baltic states? As the decadence changed? Continued bigotry, racism? “New Australians�? Arthur Calwell, the koala, the hearing, the prize-winning migrant? The treatment, good and bad, the camp, the military style, discipline? The issue of jobs, non-acceptance of qualifications? Education? Difficulties of language? Photos of dead family members? Smuggling the plates? The vodka? Gradual acclimatisation? Harsh and easy? The debate and head comments and hard comments?

5. The prologue, Silver City, the song, the site, empty? Going back, the words on the loudspeakers, the huts? The birds trapped? The woman at the door?

6. The 1962 framing: the atmosphere, the train, the passengers? Nina and her glimpse of Cans? The search, the train memories, Julian, the formality, the bond, talking, memories? Nina as a teacher? Julian and what he had achieved? The flashback, the field, intimacy and sharing, that? Lina talking, success, settling into Australia? Julian settling for less, doing of the Jan Daniel? The proposal and her refusal? Nina, the visit, family reunion? Satisfied?

7. The flashback, now a memoir, the boat, leaving, the hundred thousandth migrant, the customs, the photo and plates, the language difficulties, treatment, impact? The trucks, looking at Australia, the huts, the men and women, the camp? Emotion?

8. The loudspeakers, the jobs, lining up? Nina as a domestic? The dances, the Polish anthem, meals, not criticising, experiencing the discipline, the effect of the German language, the hard life, the separations? The Fascist touches and supervision? Easier times, the screams? The work of the grapes? The crowds, wanting to get out, two years in the camp?

9. The train, Nina and Julian, the family? The trucks, at the camp? Victor, the director, the offer of jobs for two years, the German translator and the Polish reaction?

10. Nina, wanting to be a teacher, given the domestic job, the difficult employment? Nina at Carcoar, with Helena, going to the pub, the vodka, the introduction of the shandy, Nina causing a scandal with the drinks? Her throwing the key into the river?

11. Helena, the attachment to Roy, the letters to Julian, the photo?

12. Nina being stranded in the town, going to the hospital, encountering Julian, the sexual meeting, Anna upset about an affair and telling Nina?

13. The clashes at the camp, Nina upset, Julian and his going to Arthur Caldwell, the speech about the families?

14. The religious dimension, the priest, his attitude towards Nina, the issue of sin? The mother-in-law and her condemnations? Confession?

15. Victor as a character, his home, his palace, his car, supporting Julian? The party – and the lamingtons?

16. Julian, upset, missing the exam, the bus, and Anna pregnant?

17. Into the future, Nina as a teacher Julian as a clerk, his son Daniel at the University, Victor and his trucks, Helena and Roy? The anthem at the end?

MACGRUBER

US, 2010, 90 minutes, Colour.
Will Forte, Kristin Wiig, Ryan Philippe, Val Kilmer, Powers Boothe, Maya Rudolph.
Directed by Jorma Taccone.


This is a spoof movie from writers, performers, director and producer of Saturday Night Live.

The humour will depend on audience liking of the television satire, the humour of the writing, the over-the-top performances.

It is clearly a satire on the television series Mac Gyver and television series heroics.

Will Forte, who contributed to the writing of the screenplay, portrays my group are, atop action hero for the American government, though he exhibits no particular traits except throat gouging, has been thought dead for 10 years but is living in an a monastery in Ecuador and he is persuaded to come back into action by the visit of the colonel, Powers Boothe, and his young assistant, Ryan Philippe.

Mac Gruber builds up a team but accidentally leaves explosive in the van which kills them all – typical enough of his ineptness, his disobeying orders, his going into the limelight instead of capitalising on the fact that he was dead… One of his devices to distract is to parade nude with celery protruding from his posterior – giving Ryan Philippe the opportunity to do the same later.

Kristin Wiig is a pleasant heroine – before she made a big impact in such films as Bridesmaids and moved to be a top movie star. Val Kilmer is the villain with the ambiguous name, Kunth, depending on the pronunciation.

Lots of spoof, crass humour, and suspicions about the group himself and a touch of deviancy.

It all depend on moods and enjoyment of parities of television series.

1. An entertainment? From the Saturday Night Live actors and writers? Director?

2. Audience expectations of the spoof, of characters, dialogue, situations – exaggerated, the poking fun?

3. The reference to the television series and hero, Mac Gyver?

4. Audience presuppositions: a hero, the reputation, heroic action and beyond, the role of government, conspiracy theories, detection, pursuit of criminals, work with the team, the girlfriend and partner, crises…?

5. The success of the spoof here, the humour of the writing, the send-ups, the mock hero and his being mocked, not able to pick up guns, his dumb manner, selecting his team of big toughs and the explosion and their deaths? The explanation of his background, the romance with his wife, her death, the villain, his being believed to be dead, going to the monastery and his life there?

6. A crisis situation for the American government, the colonel going to find him, with Piper, going to Ecuador, the monastery? Dead 10 years? The flashbacks to the wedding and Casey, the explosion? Kunth as villain? His stealing of the weapon, the initial sequence in Siberia and the action? The threat to America?

7. Will Forte as Mac Gruber, the heightened expectations of his reputation, their being dashed? Ecuador as a refuge, his refusal to come out, change of heart? The past relationship with, with Casey? Casey changing her relationship with Kunth and Mac Gruber? The briefing about the situation? Piper, his interventions,Mac Gruber looking down on him, breaking his nose? Jim and his tolerance?

8. The range of tactics, Mac Gruber disobeying, going to Las Vegas, the gambling, the CCTV, confronting Kunth and the Senator, the challenge? The Colonel’s exasperation and taking Mac Gruber off the case?

9. The recruiting of the team, tough, in the van, the deaths? Going to see Vicky, being unwilling, her music career, her liking from Mac Gruber, agreement?

10. Piper, young, no experience, his being amazed at Mac Gruber, yet his collaboration? The various bungles – and even Mac Gruber using Piper has a shield?

11. The issue of the phone, the trace, the GPS?

12. Vicki taken, imprisoned, Kunth and his treatment? Joining in the final attack?

13. Mac Gruber, not using a gun, his cowardly behaviour, his preferring to cut out throats – is illustrated?

14. The buildup to the siege, the warehouse, the weapon, killing the guards, getting in, wanting to free Vicky, being captured?

15. Mac Gruber and his technique of destruction, naked and the use of the celery – and Piper using the same distraction and enabling Mac Gruber to attack?

16. The dismantling of the weapon, Mac Gruber getting distracted, split-second timing, the group running from the building, the explosion?

17. The wedding, Vicky, Kunth and his arrival, the confrontation, his death?

18. How much did the human depend on audience knowledge of Mac Gyver – and of TV heroes?

3 DOA, 3 CINTA/3 PRAYERS, 3 LOVES

Indonesia, 2008, 105 minutes, Colour.
Directed by Nurman Hakim.

This film won awards in Indonesia in 2009. It is an interesting look at three young men at a Muslim school in a village away from Jakarta.

The master of the school is very earnest, giving classes with the young men taking notes, leading prayer, but advocating tolerance for Jews and Christians who respect Islam, giving respect to them. Nearby is a different school where the master encourages intolerance towards other religions as well as urging his students to become martyrs.

The plot focuses on three of the young men, their friendship, classes, the meagre rooms for their accommodation, joking together, smoking together, one looking through a peephole at a neighbouring girl, interested in continuing his father’s work as a wedding photographer, fascinated by films shown at travelling fair, another very earnest, a disciple of the master who wants him to marry into the family and succeed him, getting the help of a visiting singer and dancer to track down his mother in Jakarta, the third very earnest young man, persuaded to be a martyr, concerned about his dying father and the foreigner who is buying up the land.

There are intimations of sexuality and suggestion of homosexuality but these themes are not followed through.
The film draws the characters very well, their interactions, the flavour of life at the end of the 20th century in the village, strict Muslim traditions, the less strict behaviour of the locals, especially with the band, the singer and her dress, and her ambition to be a model or a soap opera star.

Then comes 9/11 and the authorities confiscate the young man’s video camera which has been used by the zealot to film his choice of being a prophet, by the young woman for her audition video and the master puzzling about how to use it. They are imprisoned. However, there is a postscript three years later with what has happened to each of the young men.

1. A contemporary Indonesian story? Regional town, Muslim school, visiting film and circus show? Glimpses of Jakarta?

2. The setting in 2000? Pre-9/11? Muslim schools, those preaching harmony and tolerance? Those preaching hate and martyrdom?

3. The setting of the school, the rooms for teaching, for prayer? The accommodation, shared? The wall on which the boys wrote? The peephole and looking through it? Near the cemetery?

4. The head of the school, his teaching, interpreting the Koran, attitudes towards Jews and Christians, tolerance and respect? The impact on the students? The contrast with the other teacher, his preaching against tolerance, praising martyrdom? The head of the school and his treatment of the students, his wife and family, wanting to keep one boy and marry him into the family and be his successor? His discipline, the boy carrying the water buckets? The intimations of homosexuality? Confiscating the video camera and his puzzle about it?

5. The portrait of the three boys:

Rian, age, attitudes, cheeky, with the other boys, friendly? Looking through the peephole, leaving the message? His concern about his mother, her visit and a plan to marry again, his resentment? His father’s business, wanting to be a wedding photographer? Going to the fair, watching the films, looking at the projector, the projectionist, friendship, teaching him, the offer of the job?

Hudi, a model student, his concern about his mother, leaving him at the school, never visiting? The teacher and his admiration for him? His relationship with the other boys? Going to the fair, watching the dancer? At the cemetery, meeting the girl, discussions, giving her the address and the money, her getting the information, more money, the new address? His decision to go to Jakarta, tracking down the address, the discovery that his mother was dead, the woman at the centre, her explanation that his mother was ashamed but always proud of him and wanting him to grow up to be a good man? His return, becoming part of the group again?

The intense Muslim boy, listening to the interpretation of the Koran, going to the stricter school, his interpretation of rules, his wanting to be a martyr? His father in hospital, the cost of the treatment, the outsider wanting to buy the land, the offer of the money, his making the video about being a martyr, discovering that the man was paying for his father’s health treatment, going to the teacher and saying that he did not want to be a martyr until later? His father’s death?

6. The girl, her ambitions, the modern singing and dancing, the crowds, sexy? In relationship to Muslim traditions? Visit to the cemetery, her helping the young man? Her wanting to be a model, a soap opera star, taking the video clips?

7. 9/11, the authorities with the camera, seeing the young men, the teacher, their arrest, the interrogations?

8. 2004, the young man now teaching in the School, Rian and his work with film, the earnest man and his intentions, the girl returning to the town with her media success?

9. A glimpse of life in Indonesia?

YOUTH


Israel, 2013, 107 minutes, Colour.
Eitan Cunio, David Cunio.
Directed by Tom Shoval.

Youth seems a rather generic title for this film, although it does focus on two young men, one at school, the other doing military service, their family life, the financial difficulties of their father, and their concocting a plan to abduct a girl and demand a ransom from her parents.

The two young men, played by lookalike Brothers, have a motive but are rather callow and even brutal in their treatment of the girl they abduct, imprisoning her in darkness, blindfold with a gag, rather late in their bringing water and food to her.

The plan is interrupted by their mother gathering the family together and having a family meal.

Ultimately, the plan is futile because the girl’s family observe the Sabbath and does not answer the phone to the young men’s ransom calls and when she gives them her credit card, it is a youth card with a very limited amount of money allowed to be taken out.

A glimpse of two young men, well bonded together, with a plan that fails.


1. An Israeli film, a film about crime, social issues?

2. The city, the streets, homes, ordinary people, affluent classes – and the hideaway for the abducted victim? The musical score?

3. The title, very general, as applied to the brothers?

4. The introduction to the brothers, Shauli following the girl, at length, his plan, photograph, sending it? His brother from the military, the bond between the two brothers, the resemblances? At home, the family, going out with their grandfather and his friend to the cinema?

5. The similarity of characters, hatching of the plan, the lack of moral perspective, wanting the cash, abducting the girl, the brutal treatment of her, testing the eye patches, tying her up? The mattress, blindfold, the gag?

6. The girl, her age, family background, friends, the voicemail on her phone and the parents not answering?

7. The boys’ mother, home, the surprise meal, the shopping, the gathering? The little girl with the phone, getting it back from her?

8. The brothers returning, the girl’s resistance, securing her more severely?

9. The brothers having to go back and forth, the interruptions, the family not responding to the phone calls, their encounter with their father, his financial problems?

10 The treatment of the girl, the water, her weak state, her explanation that her parents kept the Sabbath and did not answer the phone, the fact that she was always missing on the Sabbath because she did not believe in it?

11. Going to the ATM, the limit on the card, a youth card?

12. The decision to let her go, the threat with the gun, her paces, not looking back – but her looking back?

13. The failure of the plan, the brother going back to the Army, the phone call, the information about his father and death?

NORM OF THE NORTH

US, 2016, 90 minutes, Colour.
Voices of: Rob Schneider, Heather Graham, Bill Nighy, Ken Jeong, Loretta Devine, Colm Meaney, Gabriel Iglesias, Salome Jens.
Directed by Trevor Wall.

This is a family oriented animated film, set in the Arctic and then in New York City, Norm, a polar bear, the hero of the action.

The film as a varied voice cast with Rob Schneider as Norm, Colm Meaney as his grandfather, with Bill Nighy as a wise bird, Heather Graham as a business bear.

There are playful scenes in the Arctic with bears and seals but also with the tourists coming in and a developer, voiced by Ken Jeong, unscrupulous about his methods – which leads to Norm going to New York City, doing auditions, becoming the centre of a campaign but wanting to return to the Arctic, find his grandfather – and then becoming king of the Arctic, marrying and having a number of cubs.

Undemanding in one way – but, for younger audiences, a film about the environment.

1. A family film? American audiences? World audiences? The focus on ecology?

2. The animation, style, characters, layouts, voices, musical score?

3. The Arctic, the grandfather and his attitudes? Norm and his role? The gift of speaking to humans?

4. Socrates, the bird, wise? Elizabeth, the bear, her love?

5. Mr Green, entrepreneur, his buildings? Vera as his representative? Avalanche, saving her?

6. New York, stowing away, Norm and the lemmings, the audition, Mr Green and the mystery of Norm’s grandfather?

7. The restaurant, Mr Green, the shooting? Attack on Norm? Norm as mascot?

8. Olympia, her plan, the importance of getting ratings, Norm as centre of attention, the possibility for denunciation? Recording? Norm’s role?

9. The tourists in the Arctic, the Arctic plans, bribes? Pablo and his directness? Investor? The work?

10. The voyage, Norm going back, freed, the houses?

11. Happy ending, the dangers to Norm, recovery? His grandfather? His becoming King? Happy marriage? And the cubs?

THE DRIFTLESS AREA

US, 2015, 93 minutes, Colour.
Anton Yelchin, Zooey Deschanel, John Hawkes, Alia Shawkat, Frank Langella, Ciaran Hinds, Aubrey Plaza.
Directed by Zachary Sluzer.

The Driftless Area is a drama/melodrama set in the backblocks of the United States.

What makes it different is the way the story is told, memories of Pulp Fiction, with a variety of time shifts, non-linear.

The focus of the story is on a young man, Pierre, played by Anton Yelchin, who comes back to his hometown after his parents’ death, away for studies, but taking up work in a bar. We first see him getting a lift on the road, picked up by Shane, John Hawkes, who robs him but who crashes when Pierre throws a stone at his vehicle. However, in the narrative, this comes later.

It emerges that Shane has set a house on fire for criminal boss, Ted (Ciaran Hinds), but a young woman was in the house, Stella (Zoe Deschanel). She seems to have survived – or, perhaps, is a ghost – who makes contact with a hermit outside the town, Frank Langella. When Pierre falls down a well, it is she who rescues him and they fall in love.

The plot builds up to a confrontation between Pierre and the criminals, Pierre eluding them – but?

1. The title, the actual location and career? The American town, the landscapes? The symbolism of the title?

2. The blend of realism, surrealism, fantasy?

3. The town, homes, the buyer, the countryside locations? The garage and the centre for the criminals? The musical score?

4. The time shifts, the non-linear storytelling? The different perspective on the events because of the time shifts, interpretation?

5. The character of Carrie, her telling the story, in herself, her life, in the town? Her perspective on Pierre, the friendship, talking with him? Who are willing to help?

6. The focus on Pierre, his age, his story, in the town, going to study, his parents’ death, returning to work in the bar? Seeing him on the road, with the flowers, getting the lift? The encounter with Shane, his taking the flowers? Pierre throwing the stone, the crash, finding the money, taking it? But this episode coming later in the linear story?

7. Shane, the truck, the money, giving the lift, taking the flowers, the crash, the money, his recovering?

8. Shane and Ned, Ned and his control, Ned and the commission to set the house on fire, Shane and the arson? The later account, the possible survivor? Ned urging Shane to recover the money? The pursuit of Pierre, guns, the house in the forest, Pierre and shrewdness, the defeat of Shane and Ned?

9. Tim, the recluse, his lifestyle, his house, the touch of second sight, his helping Stella, supporting her, in the town, observing?

10. The return to Pierre, his walking in the forest, falling down the well, trapped? The rescue, Stella and her helping him to get out? Her bond with Tim? With Pierre? Her being in the house, the reason, unexpected? Pierre bring her the flowers?

11. Stella, being in the fire, her experience, whether she was dead or not, the touch of the ghost story, her powers? Finding Pierre, the consequences? Tim telling her that someone would come at the right time for her retribution?

12. The film as an ordinary story, the range of characters, the non--linear storytelling, the touch of the existential in the dialogue, life and meaning, justice and retribution?