DIARY OF A WIMPY KID: DOG DAYS

US, 2012, 94 minutes, Colour.
Zachary Gordon, Devon Bostick, Rachael Harris, Robert Capron, Steve Zahn.
Directed by David Bowers.

Writer and artist Jeff Kinney had great success with his books, Diary of a Wimpy Kid. This is the third film version.

By this stage, fans of the books will have accepted the characters, the comic situations, the problems, the solutions, family reconciliations.

On the other hand, while young audiences may be able to identify with Greg Heffley and the other characters (although Rodrick is still obnoxious and Rowley is very sympathetic), he is still both wimpish and nasty, which means ambiguous reactions to him until the end and the reconciliation with his father – who is played with quite some zest by Steve Zahn.

The books continue in their further plans for other films.


1. The popularity of the books, the sketches and illustrations? The target audience, children, parents?

2. The comedy, spoof – serious underlying values, questions?

3. The American town, the houses, school, parties, the country club and the visits, the swimming pools, tennis? The Sweet Sixteen and the band playing?

4. The music, the rock ‘n roll, the musical score?

5. Greg as the wimpy boy, or not? His capacity for mischief? How different was he from Rodrick? His own vanity, pushing Rowley, focus on Holly and the girls, his reaction to the teachers, lying to his parents, clashes with Rodrick? Ordinary teenager and/or the touch of the nasty?

6. Greg, at home, the summer, wanting to play computer games? At the pool, failure, with his brothers? Friendship with Rowley, going to the country club, Rodrick using him to get in or else reporting him to their parents? The pool, his diving and the little girl criticising? His losing his swimming trunks? Flirtation with the girls? The presumption about tennis, the failure of the game? Rowley and his parents, Rowley lying and ashamed of it? Greg being exposed, at the club, the large bill, his father’s reaction? The wilderness experiences, with his father, the trap for the leader, his confession? Reconciliation with his father?

7. Rodrick, his age, selfish, vain, with his band, tricking Greg, his slovenly manner, eating? Lazy? Using Greg to get into the country club, in the garbage skip? The band, the performance, the mayhem? Any redeeming features?

8. The picture of the parents, the mother, her principles, kind to her children, with each of her children? Her setting up the reading club and Greg’s friends coming? Dad, easygoing, soft, his work, attitude to each of his children? The summer, going to the pool, urging Greg to be active, not to play computer games, Greg deceiving him, saying that he had the job at the country club, dad offering him to work at the office? Getting Greg to be involved in the wilderness exercises? The discovery of the truth about the country club, the huge bill? Not yelling at Greg but saying he was disappointed? The Wilderness exercise, the failures, the boys overhearing the criticism, setting up the trap, Greg confessing, the exposure of the leader of the group and his mod cons? Dad and his supporting of Greg?

9. The baby? At the pool, Greg looking after him? At home?

10. Rowley, Greg and his friendship, sharing with Greg, the magic, his visits, watching the horror film and the fright, his father bringing him home, coming to the party, rescuing Greg, in the basement? Inviting Greg to help him, Greg’s refusal to help with the magic, the concert, Greg relenting, the success?

11. The intended audience, young people and their reaction, identifying or not? Parents watching the film?

SILENCE

US, 2016, 160 minutes, Colour.
Andrew Garfield, Adam Driver, Liam Neeson, Issei Ogata, Yosuke Kubozuka, Tadanobu Asani.
Directed by Martin Scorsese.


Silence is Martin Scorsese’s version of Shiraku Endo’s novel, Silence, which had become an award-winning, Cannes-screened, Japanese film in 1971. Scorsese wanted to make his version for 25 years but, until now, had failed in raising sufficient finance. His film now is a fine Scorsese achievement.

Scorsese is often quoted as stating that he is a Roman Catholic, first and last, and that he has seen his role as film director as akin to that of the priest, incarnating transcendent values in his films.

Scorsese has explored Catholic themes in only two films, Whose Knocking at My Door (1968) about a young Catholic man with problems in New York City. And now, Silence. At a time when so many people have lost interest in religion, questioning it as well as questioning faith in God, the Catholic Church is treated with some scepticism and, because of abuse scandals, priests considered with hostility, it is a surprise to find such a deep exploration of the priest and priesthood in 2016. But, it must be stated that Silence is also a film about Catholic laity.

Of course, Scorsese is very well known for his Jesus film, The Last Temptation of Christ (1988), not a Gospel film as such but an interpretation of the Gospel stories and Jesus’ humanity and divinity according to the novel by Greek Orthodox writer, Nikos Kazantszakis. As regards religion, Scorsese made the fine film about the Dalai Llama, Kundun (1997).

Scorsese was born in 1942 and the Catholicism that he grew up with, an Italianate New York Catholicism of the 1940s and 1950s, has been absorbed by the director. He turned 20 at the time of the first session of the Second Vatican Council but he seems to have moved away from day-by-day Catholicism at this period and his later comments and reflections do not echo the renewal instigated by Vatican 2. In many ways, Scorsese’s Catholicism is a past Catholicism.

This is evident in Silence, in its portrayal of the Jesuit priests, their missionary endeavours, the persecutions, torture and executions. The ethos of martyrdom is that of the period of Scorsese’s childhood and adolescence, a long tradition of heroism in giving up one’s life for the faith, witnessing to faith in suffering and death, reinforced at the time by the Church’s experiences in Eastern Europe, Czechoslovakia, Hungary, and the well-known stories of Cardinal Mindzenty in the 1950s.

In fact, the first two hours of Silence (and it is a long film running for 160 minutes) play as an appeal to the Catholic ethos of the 1940s and 50s. It could take its place alongside such films as the version of A.J.Cronin’s The Keys of the Kingdom (1943) with Gregory Peck as a missionary in China. Martyrdom is based on conviction, courage, identification in suffering and death with the passion of Jesus.

The film opens with some vivid re-creations of the execution of Jesuit priests, observed by fellow-Jesuit Father Ferreira (Liam Neeson) who writes a record of what he has seen and what he has felt. These executions occur in 1633. However, his record is delayed in reaching his Jesuit superiors and, in 1640, two earnest young priests, Father Rodriguez (Andrew Garfield, who excelled in 2016 in Hacksaw Ridge) and Father Garrpe (Adam Driver who excelled in 2016 in Paterson), volunteer to go to Japan to search for Father Ferreira.

What Scorsese presents in the first two hours, echoing Endo’s exploration of faith, is a sympathetic portrait of two earnest priests, their ministry to the Japanese laypeople who have survived persecution, hidden in villages in the vicinity of Nagasaki, who welcome the priests, eager to have mass and the opportunity for confession, and keep the priests hidden. The priests respond earnestly, the screenplay giving them many lines of reflection on their evangelisation, to spread the Gospel teaching, principally a Gospel of love, on their spirituality as Jesuits, the love for the Gospel stories which they quote with further, and the person of Jesus, their prayer.

It will be interesting to hear Jesuit responses to the film – and there have been significant films about 18th-century Jesuit missionary activity in The Mission (1986) with its South American settings and Black Robe (1991) about the missionaries in French-speaking Canada in the 17th century, at the same time as the action of Silence. Jesuit media personality, Father James Martin, appears in the credits as a consultant, other Jesuit’s from Taiwan (where the film was made), including strong SIGNIS presence, Father Jerry Martinson, are listed as well.

The priests, who come from Portugal via Macau, refer to the work done 100 years earlier by St Francis Xavier, refer to the Spiritual Exercises for their discernment in decisions and, the prayer of Father Rodriguez is very strong in his identifying with Jesus in the Gospel sequences, the composition of place recommended by St Ignatius Loyola.

It has been noted that this is a film about laity and the convert men and women are prominent in their living of their faith, sacramental life, support of the priests, and their willingness to suffer for their faith – including a long and harrowing sequence where four men are tortured, crucified at the water’s edge, and partly drowned as the waves and tides sweep over them. “Why are their trials so terrible – and our answers so weak?�. There are other sequences of torture and execution which are powerful reminders of the reality of this suffering (suffering which we can read about and absorb but which can be shocking when presented visually on screen).

So, in 2016, in the first two hours, we have a film which is a new dramatisation of older Catholic styles, Scorsese contributing to a re-awareness of Catholicism.

It is in the final 40 minutes that the film moves its audience, faithful as well as non-Christian, sympathetic or not, to consider questions about priesthood that have arisen since the Vatican Council. The word that is used throughout the screenplay, which we are not used to using in Christian circles now, is ‘apostasy’.

The Japanese authorities, originally sympathetic to the coming of Christianity, but then moving towards persecution, assertion of Buddhist traditions, and pressure on the priests to give up their faith, all Christians being asked symbolically to step, physically, on a religious image or to spit on the crucifix, refusing being “the most painful act of love performed�. These temptations for the priests to give up is a reminder of the key theme of The Last Temptation of Christ, Jesus being asked to come down from the cross and live an ordinary life, the last temptation being the temptation to ordinariness. In this case, for the priests to become Japanese citizens, absorbing Buddhist traditions, studying science and language, with wives and families.

The appeal to the priests is different from that to the peasant Christians: the priests are asked to renounce their faith so that the prisoners might be set free. Father Rodriguez spends a great deal of time in prison, witnessing the torture of the Christians, mental anguish as he prays, the temptation to give in for the sake of the lives of those who are to be killed. He hears the voice of Jesus himself “I know and share your pain, your life is with me now�, sometimes looking at the image of Jesus – at one stage, on the run, looking at his bedraggled reflection in a pool and seeing the face of Jesus. He has his own Gethsemane as the authorities pressurise him and bring in Father Ferreira, who had been Father Rodriguez’s inspiration, but who has made the decision, after torture, to renounce Christianity and the church.

Does the film suggest that the no greater love is not necessarily laying down life in death but in sacrificing one’s own life in living so that others may live?

One of the villagers who brings the priests to Japan, whose family have been executed but who has survived, seeing himself as a Judas (and frequently being a Judas) but who wants to confess and to be forgiven, challenging Father Rodriguez who does give him absolution to wonder how Jesus could love this kind of man.

Since the 1960s, many priests and religious have moved to lay life after years in vows. This is a theme that has preoccupied Catholics for almost half a century in a way that was not so explicit previously. Silence raises the issue of commitment to vocation, challenge to vocation, mental and emotional pressure, the experience of feeling “forsaken� intellectual arguments, and the crisis of conscience of renunciation to save others’ lives. Father Rodriguez uses the language of the “fallen priest�, “lost to God�.

A parenthesis: in the 1955 film based on the trials of Cardinal Mindzenty in Hungary, The Prisoner, the Cardinal is given some lines about what he might say in his trial, that because of the torture, he may sound as if he is denying his faith, something he is truly committed to.
The film does not end as we might have expected and the audience finishes watching Silence silently, reflecting, puzzled, hopeful… Especially with one final image of Father Rodriguez as he dies and his body ceremonially burnt in the 1680s.

Silence is a film of beautiful images on land and seascapes, dark and hidden sequences, and very much a film of words, articulated questions of faith, articulated prayers, and, towards the end, an emphasis on rational argument about religion, faith, comparative religions, the politics of Western powers in the 17th century and the reaction against them by the Japanese, and the challenging discussions about the nature of the faith, the possibility of doubt and the conversion of the Japanese, whether Christianity and Catholicism have actually taken root or are simply an adaptation, with sincere commitment, of long-standing beliefs and traditions. It is asked whether the convert value the signs of faith, metals and pictures, more than faith itself. There are substantial discussions about the nature of truth, its universality, and its being relative in different cultures. There are discussions about transcendence and how this is absent from Japanese culture, using the image of the sun: Jesus, the Son, rising after three days whereas the sun, sacred to the Japanese, rises daily in ordinary life.

Silence is not going to be a big box-office success. Initial reviewers who have commended this exploration of faith and a sense of God and God’s absence remark that the film was often boring – and may well be to the wider audience. In that sense, Scorsese has made the film for himself, a reflection on his own life, his beginnings in faith, his memories of the year he spent in the junior seminary in New York City and the example of the youth minister priest who inspired him, of his moving away from the institutional church, of his life and career, of his deep-seated interest in the basic themes of sin, guilt, repentance, suffering, redemption. There is hope in the screenplay with the laypeople talking about Paradise, hopeful an afterlife, which has to be better than the impoverished and persecuted life they are living here on earth.


1. Endo’s novel? From 1966? The film version in 1971? Martin Scorsese and his long interest, the long years of preparation?

2. Scorsese’s aim, motivations, Catholicism, exploration of priests and priesthood, faith and doubt, suffering, death and redemption? Drawing on the experiences of his own life?

3. The title, silence in general, the silence of God, the silence of Jesus? The silence of the Jesuits? The silence of the secret Christian converts in Japan? The silence at the request of Japanes authorities to deny faith? Space and silence? The minimal score – but the religious music and hymns?

4. A Jesuit film, the advisers, the sense of the Jesuits, their vocation, spirituality, mission? Francis Xavier, Ignatius Loyola, the Spiritual Exercises?

5. A Catholic film, European Catholicism, the 17th century? The European powers, the missionaries and the political background? Preaching, conversion? Faith and piety, sacramental life, reliance on the signs of faith, the gospel of Love?

6. The focus on the love of Jesus, the love of God, the quotations from the gospel, Father Rodriguez identifying with Jesus, with the Gospel sequences and the “composition of place� especially for Gethsemane, the passion and crucifixion?

7. The re-creation of the period, the 17th century, the opening in Portugal, the Jesuits and the church buildings? The opening in Japan, the martyrs? Scenes in Macau and the atmosphere of Asia? Japan, the coast, the woods, the villages, the city, prisons, tribunals? The merchants from Europe?

8. The prologue, the scenes of the crucifixions, the narrative by Father Ferreira, his witness, the letter to the Jesuit superiors? The priests, the boiling water, the holes in the vessel, the crucifixion? Martyrs and faith, the background of the persecutions in Japan?

9. Father Garrpe, Father Rodriguez, earnest young men, the discussions with the superior, pro and con for their going to Japan, the spirit of discernment, the stories about Father Ferreira and believing them or not? The permission to go, to find Father Ferreira, to find the truth? The background of Father Ferreira as mental? The long voyage, Macau, the search for means to get to Japan, the drunken Japanese man, the Chinese help, sailing to Japan, the uncertainty of arrival, on the beach, the Jesuits wary, the welcoming from the villagers?

10. Christians and faith, holding to faith, the older converts and their devotion, leading to their deaths? The drunken Japanese, the facts about his life, the deaths of his family, his own giving in, leaving Japan? The converts and the authorities, the reliance on the signs of faith, celebration of Mass, going to confession, the profound belief in forgiveness? Hiding the priests, in the cellar, their going out into the sun, the effect of the confinement, psychologically and spiritually?

11. Father Garrpe, direct, his fears, with the people, his arrest, witnessing the deaths by drowning, his swimming out to the boat, his being killed?

12. Father Rodriguez, in charge, a fervent and devoted man, his personal relationship with Jesus, in prayer, identifying with him?

13. The Japanese man as a Judas, leading Father Rodriguez on the track, the broken water vessel, Father Rodriguez looking at his face in the pool, seeing the face of Jesus? Betrayed?

14. The treatment of Father Rodriguez, the arrest of the Japanese converts, the authorities, the demand for hostages? The old men? The Judas? The crucifixions, in the sea, the waves overwhelming them? Father Rodriguez and his dilemma, whether they should dissemble to prevent their deaths? His apostasy for their lives?

15. The inquisitor, the nature of the debates, the issues? Father Rodriguez, caged, the physical and mental torture? The discussions with the translator?

16. The transfer, his ambiguous treatment, good and bad, change of clothes, the audiences with the inquisitor, hearing the shouting in the adjacent cell? The psychological effect on him?

17. His expecting Father Ferreira, the disappointment? The Judas character, continually coming back for confession? The woman, prepared to be a martyr, the talk about Paradise – and it’s better than human life, no work, no taxes, no suffering…?

18. Father Ferreira coming, the issue of his apostasy, the fallen priest, lost to God?

19. Ferreira and his life, the torture, his being hang upside down, the cut, the seeping of the blood? His renunciation, issues of faith, science and study, wife and family, the debates with Rodriguez, about the Japanese, not having roots of religion, Japan as a swamp, Japanese culture, Buddhism, the analogy of the resurrection after the third day and the Sun? And the Japanese seeing the sacred sun rising every day?

20. The inquisitor, his attitude towards Christianity, the nationalism of the Europeans, Christianity as relative? The image of the tree, different trees growing in different situations of soil and climate?

21. Ferreira, his torture, the cut, the blood? The Christians hanging, the cuts and the seeping blood?

22. The effect on Father Rodriguez, the pressure on him, the deaths of the Christians, his stepping on the face of Christ?

23. The issue of apostasy, Rodriguez’s life, study, with Ferreira sorting the emblems of Christianity of the Dutch traders?

24. The pressure on Father Rodriguez, the inquisitor, saving his life, the sense of abandonment?

25. The understanding of apostasy, denial of faith or loss of faith?

26. Father Rodriguez’s life, the decades passing, his death in the 1680s, his wife, the ceremonial, his body in the urn, being burnt – but the final glimpse of the image of Jesus in his hand?

KRAMPUS

US, 2014, 88 minutes, Colour.
Adam Scott, Toni Collette, Emjay Anthony, Krista Stadler, David Koechner, Conchata Ferrell.
Directed by Michael Dougherty.

English-speaking children may not heard of Krampus – and, if they see the film, they may not want to hear about him!
This is a Christmas film with more than a touch of horror – and the director worked on Halloween with his film Trick ‘r Treat.

The elderly grandmother in the family comes from Germany, speaks German and knows the legend of Krampus, a spirit who is angry when humans lose the spirit of Christmas and wreaks most mischievous revenge on them.

The centre of the action of the film is a young lad, Max, played by Emjay Anthony, with Adam Scott and Toni Collette as his parents. He writes a letter to Santa, and is later mocked by his most unlikable cousins who turn up with their parents to celebrate Christmas as well. Also present is the cantankerous Aunt Dorothy.

Max’s sister goes in search of her boyfriend but discovers that the town has been blacked out and a house ruined. Her father and uncle then go out in search finding the same as well as the caravan destroyed. Various mischievous characters including a Klown, a Jack-in-the-Box?, gingerbread men all intervening and several of the characters disappearing.

When Max wakes up, it has all been a nightmare – but he finds in his hand an emblem, similar to that of his grandmother, a reminder of the presence of Krampus.

1. A Christmas story – with a difference? Family? The horror?

2. Town and homes, the Christmas atmosphere, the shops and the rushes, the customers and the rights, the ordinary people, unpleasant and greedy? And Santa Claus in the shops?

3. The title, German legends, monsters, the town, the toys and creatures, the attacks and the repercussions? The shadow of St Nicholas?

4. The weather, darkness, night, snow, the monsters and destruction?

5. The nightmare, Max and his sleeping, waking? The importance of the spirit of Christmas? Omi’s emblem, Max finding his at the end?

6. At home, the parents, busy, the Christmas situations? Omi, her stories, talking in German? Max understanding German? The visitors for Christmas, Howard and his wife, the obnoxious children, aunt Dorothy?

7. The children, their ages, the two girls, the boy, the baby, their behaviour, callous and obnoxious? Their mother trying to mediate? Howard and his arrogance, presumptions, talk about guns?

8. The daughter, going to see her boyfriend, going out into the storm, the ruined house, the monsters, pursuit, hiding under the truck?

9. The argument about the gun, Howard and dad coming out, the search, the snow, the ruined house, Howard and his being dragged down, his being saved, the caravan and its being destroyed?

10. Max, writing to Santa, the cousins mocking him, his tearing up his letter?

11. The children, the gross behaviour, the boy being drawn up the chimney?

12. The Clown, the Jack-in-the-Box?, the gingerbread man, and men, coming down the chimney? Taking the boy?

13. Omi, for explanations about Krampus, the spirit of Christmas and its being lost?

14. The power gone, the batteries, the house in darkness?

15. The disappearances, the effect on the parents? On Max?

16. Max, waking, the experience of the nightmare, Christmas hope and preserving the spirit of Christmas? And the future of Krampus?

 

 

 

 

A MIDNIGHT CLEAR

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

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

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

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

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

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

The film is well worth seeing and reflecting on.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

 

iSTEVE

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

TOMORROW YOU'RE GONE

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

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

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

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

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

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

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

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

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

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

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

THE STOPOVER/ VOIR DU PAYS

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

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

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

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

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

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

3. The title and its focus?

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

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

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

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

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

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

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

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

GETTING EVEN WITH DAD

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

 

 

 

 

RITES OF PASSAGE

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

 

EVEN LAMBS HAVE TEETH

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

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

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

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

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

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

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

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

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

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