BYE, BYE, LOVE

US, 1995, 106 minutes, Colour.
Matthew Modine, Randy Quaid, Paul Reiser, Janeane Garofalo, Amy Brenneman, Eliza Dushku, Rob Reiner, Ed Flanders, Maria Pittillo, Ross Mallinger, Lindsay Crouse, Johnny Whitworth, Wendell Pierce, Jayne Brook, Mae Whitman.
Directed by Sam Weisman.

Bye, Bye Love, is an entertaining comedy with some food for thought from the mid-1990s, reflecting changes in American social situations, especially with divorce, the breakup of the nuclear family, single parents, custody issues and visitation rights.

The screenplay takes its tone from the popular song, Bye, Bye, Love.

The film focuses on three divorced fathers and how they handle their situations. Matthew Modine is a roving eye father, Randy Quaid is a father angry with his ex-wife and trying to do the best for his children, Paul Reiser is still pining for his ex-wife but finding it difficult to communicate with his daughter. There are various crises as the fathers have to deal with the children or with their ex-wives.

There is quite some comedy with the introduction of Janeane Garofalo as a date for Randy Quaid, making all kinds of delays and demands in the restaurant to his exasperation – although, she does finish up on the side of the angels.

There is also a plot strand involving McDonald’s?, where the fathers take their children, and an elderly man, Ed Flanders, going into the geezer program of employment and making friends with one of the youngsters working there, Johnny Whitworth.

There is quite some satiric amusement in the character played by Rob Reiner, who hosts a radio show, promotes himself as a marriage counsellor, has a whole lot to say about divorce – until finally challenged by Randy Quaid who invades his studio, attacks him, but is invited to join in the conversation and finds that he has a flair for this kind of radio talk.

While the film comes from the 1990s, it is still relevant in later decades.

1. The title, the song and its use? The wry comment? The blend of the comic and serious?

2. The end of the 20th century? Issues of marriage, divorce, children, custody, visits? The style of visits, the venues and Mc Donald’s?

3. The American city, homes, Mc Donald’s, the fans, restaurants? Middle-class life that audiences could identify with?

4. The range of the cast, their skills, styles? The songs the musical score?

5. The three husbands, the introduction to each, the actors and their creation of character? The background of the marriages? Present at the wedding and discussing Dave? Relationship with their children, their ex-wives, the tensions?

6. Dave, his wife, her exasperation, his son and daughter, flirtatious man, with younger women, Kim and her living in, his going to the sport and meeting the wives, the kids and their attitudes, wary of him, Kim preparing the meal, the reaction of the boy, the visits of the wives, their bringing food? Kim and her reaction? Dave and his failings?

7. Vic, his hard ex-wife, his relationship with his children, the daughter and her babysitting the younger ones, his aspirations, the driving teacher, with the other men, bonding? The discussions about The Yearling and the family watching and weeping? The arrangement of the date, calling on Lucille, the restaurant and her choices, his exasperation at her responses at the restaurant?

8. Donny, pining for his wife, stalking, the new marriage, his daughter and the relationship, fussy, her graduation, her saying she was forced to visit him, the elaborate preparation of the meal, the argument, her leaving? Going to see Dave’s wife, the sexual attraction? Breaking off? His confession to Dave and the awkward moment?

9. The theme of the older generation, Walter, widower, memories of his wife, the photos at home? The Mc Donald’s program about helping old geezers? His application, the boss, consideration, working with Max, enjoying the work, discussions with Max, the girls flirting with Max, Max unhappy at home, Walter inviting him to live with him? His being persuaded to go to the party, the girls and their flirting, watching Max, his dancing with the unexpected girl, Donny’s daughter and her being hurt, drinking, driving with the friend, crashing?

10. The weekend outings, going to the fair, the men together, the children and their interactions?

11. The DJ, his continued talk about divorce, promoting himself, everyone listening to the program? His irritating the men? Vic finally going, confront him in the studio, the fight, calming down, Vic answering the questions, enjoying the interaction, and his future on the radio program?

12. A year later, relationships, partly mended, tensions remaining, the children, Donny and his daughter and the episode in the tree house, his marrying Dave’s ex-wife, her expecting? Dave and his relationship with Kim?

13. The effect of the film as mirroring contemporary marriage and divorce situations, insights?

LOVE THAT BRUTE

US, 1950, 86 minutes, Black and white dot
Paul Douglas, Jean Peters, Cesar Romero, Keenan Wynn, Joan Davis, Arthur Treacher, Peter Price, J C.Flippen.
Directed by Alexander Hall.

Love that Brute is a brief entertaining comedy in the style of the 1940s and 1950s. It is set 20 years earlier in the Chicago of the gangsters, during Prohibition, before the Saint Valentine’s Day Massacre but echoing some of that violence.

Paul Douglas is the brute of the title, seemingly a big gangster power in Chicago, but actually rather a kind phony keeping up his reputation and keeping, in some comfort, in the basement of his home, all the gangsters he is reputed to have killed. Keenan Wynn is his enthusiastic aide.

The real gangster is played by Caesar Romero who introduces real violence but gets his comeuppance.

A lot of the comedy concerns a nanny, played by Jean Peters who has the opportunity to be prim, to sing a song in a club, and, however improbably, to fall in love with Paul Douglas. Peter Price is precocious as the little boy that the gangster hires in order to employ a nanny. Also in the cast are comedienne, Joan Davis, in a more subdued role than usual but also Arthur Treacher, very British and pompous butler in so many films, here doing the same role but actually in cahoots with the gangster and toting a gun!

Lightly entertaining.

1. An entertaining variety on gangster film is a romantic comedy?

2. The Chicago setting, 1928, the era of Prohibition and gangsters? The initial comment about the effect of Prohibition and ex-marking the spot for deaths of gangsters?

3. The cast, their reputations in the 1940s and 50s? The music, Chicago, Charleston, the singing of You Took Advantage of Me?

4. The opening, collecting money for charity, the gangsters, the shop owner, the shootout? Bugs and his putting flowers on the corpses? His alibi? Getting a reputation for Big It?

5. Big Ed, Paul Douglas’s style, trucking, his reputation, the deaths of gangsters? Sitting in the park, with the police? Being hit with the snowballs? Meeting Ruth? Thinking up the plan, organising Bugs to get a little boy to be his son, the interview with Ruth, hiring her? The romantic
touch? But audiences thinking of him as a big time criminal?

6. Ruth, from the small town, actress ambitions, looking after children, the interview, attracted by Harry Jr, controlling his cheekiness? Admiration
for Ed? Finding out the truth, her wanting to leave, taking Harry to the military school? Disappearing? And arranging for the auditions, the story of his selling the club, her song and success, friendship with maybe? The encounter with Pretty Willy, resisting him?

7. Pretty Willy, rivalry, making the agreement with Ed about collaboration? His own thugs?

8. The party, Willie and his thugs, the threat to Ed? Bug and his drinking, Ruth upset, his taking her downstairs, all the criminals being looked after, well fed, no one did? The getting the key, getting out? The effect on Willy and the rest, Mimi and her new husband, her old husband turning up?

9. Willie taking it, to execute him, the two criminals pretending that he was dead, his escape?

10. And, is plan, is funeral, the two criminals accusing Willy? His arrest? It confronting him in the washroom? Willie and his comeuppance?

11. Harry, acting like a thug in military school, going away with Ruth?

12. Bug, is disguise, picking up the criminals, helping Ed?

13. The boat and going back to Michigan, Ruth and Harry, Ed and his late arrival – and a happy ever after?

CONTRACT

Canada, 1999, 90 minutes, Colour.
Johanna Black, Laurent Imbault, Matthew Olver, Billy Dee Williams,
Directed by K. C. Bascombe.

This is a small Canadian film which went straight to video. It focuses on hired assassins, immediately illustrating with an initial hit and the introduction to Luc, an assassin, and Hannah, his associate.

Luc is invited to participate in a killing but declines while Hannah responds online and accepts the job, which leads to a deeper conspiracy, a group of snipers from the Vietnam War and their subsequent careers, having to be eliminated because they know too much about an ambitious senator and his political advancement.

What follows is, more or less, what one might expect from this kind of action thriller.

1. A straight to video violent entertainment? Hired assassins? Political conspiracies?

2. The American city setting, apartments, hotels, political offices, press conferences, the police? The musical score?

3. The initial hit? The introduction to Luc? To Hannah? Their expertise? Back home? The relationship between the two? The Internet contacts for killings? Luc and the Three Little Pigs, his refusal? Hannah and her decision to act? Her going to the hotel, the shootings, the assistant seeing her, informing the hitman, Luc saving her?

4. Hannah and her relationship with James, his being an artist, struggling? The thugs pursuing her, the overthrowing everything in the apartment? In the street, the hold-up by the thugs pretending to be police, the shootings, James and his saving and by shooting? His bewilderment?

5. Luc, on the job, his being killed?

6. The Senator, press conferences, saving America? The background in Vietnam, the Special Ops, the snipers and assassins, the Senator’s political ambitions, needing to get rid of all the snipers?

7. Hannah, going to see her old friend, his support, with James? Her story? His information, the photo of the Vietnam veterans, the identities?

8. Hannah tracking down Bob, his warning Luc, not knowing about his death, his going with Hannah, to confront the Senator and his thugs?

9. The Senator, his assistants, GPS, locating the car, confronting Hannah, the explanations? Shooting her friend? The gun on James? Hannah using her wits? The fights?

10. The Senator, his escape, going to his car? The detonation?

11. Hannah and her future? James? His going into writing graphic novels and comics?

12. The background of the film, conspiracies, political ambitions, Vietnam veterans, their being used, hit men – and the moral/amoral aspects of the film?

MOJAVE

US, 2015, 93 minutes, Colour.

Garrett Hedlund, Oscar Isaac, Mark Wahlberg, Walton Goggins.
Directed by William Monahan.

Mojave is a strange film, a mixture of thriller and philosophical rumination. It was written directed by William Monahan who wrote the screenplay for The Departed.

Garrett Hedlund portrays a film producer in moments of despair, going out into the Mojave Desert to find himself. He encounters a wandering man, played by Oscar Isaac, seemingly friendly but then antagonism arises between the two. While in a cave, the producer seems to see a threatening silhouette and shoots – but it is a policeman and the producer covers his tracks.

The producer returns to his work, his casual relationships, and some antagonism with another producer, Mark Wahlberg.

In the meantime, the other man returns, cuts his hair, shaves his beard, encounters a gay man and kills him, going to his mansion and enjoying the style before going to confront the producer. They have an emotional conflict, a physical conflict, and ideological conflict and discuss the respective views on art and the meaning of life.

Audiences may find it very interesting in dialogue, the portrait of the characters – but many may find it sometimes too artsy or too pretentious.

1. The title, the desert, real, and the desert of souls?

2. The emptiness of the desert, sand, the mountains? The visuals? Emotional? The contrast with Los Angeles, homes, mansions? The musical score?

3. The title, in relation to Tom and Jack, in the desert, the events, discussions and reflections, death, concealment, the consequences? Tom as the focus, his age, in himself, getting out of bed, the woman, driving into the desert, supplies, the camp? Jack approaching, suspicions, tense, defensive? Their talk, the philosophical conversation, the classical quotes? The gun? Ousting Jack? The cave, glare, the policeman at the entrance, Tom shooting him, disposing of the body? Concealing what he had done? His return to Los Angeles?

4. Jack, his look, in the desert, finding the camp, the request, talking, his cultured background, philosophical? The attack and his going? Reappearance? The intimidation of Tom, his knowing what happened, his motivation?

5. Tom, his life, women, his wife and’s child in England, involved in the movies, creative, discussions with his agent, hiding the gun in the television, the interactions with Norman?

6. The variety of characters in the industry, produces and production? The agent, Norman and his world?

7. Jack, the return to LA, wanting lifts, not getting them? His haircut, emerging as a new man, the interaction with the gay man, going home with him, killing him, enjoying his luxury life?

8. The attitude to Tom, getting the gun, his appearance, the confrontation, the discussions with the classical philosophical overtones, issues of moral responsibility? Jack’s blackmail? Two stances?

9. Tom going to the trailer, the interior, the books? Jack and his superiority? The weapons? The accord? Tom shooting him and Jack’s reaction?

10. The framework of the thriller but with existential rumination, classics, the arts, moralising in the 21st century?

DEEP WATER

Australia, 2016, 200 minutes, Colour.
Noah Taylor, Yael Stone, Jeremy Lindsay Taylor, Danielle Cormack, Ben Oxenbould, Dan Spielman, Craig Mc Lachlan, William McInnes?, John Brumpton, Simon Burke, Paul Capsis, Lynette Curran, Paul Goddard, Justin Holborow, Deborah Kennedy.
Directed by Shawn Seet.

Deep Water was made by the SBS network in Australia, screened as a mini-series.

The screenplay is based on actual events, especially homophobic attacks on young men during the late 1980s and early 1990s. The location is cliffs between Bondi Beach and Brontë Beach in Sydney – with the film showing very attractive shots of these locations.

The basic plot is police investigation into killings in 2015 which leads back into the investigations of the original period. Yael Stone is the protagonist, an ambitious young policewoman whose brother disappeared in the earlier period, a gay man, his father in denial. One of the sympathetic characters is his then-lover who becomes involved in the investigation. The other detective is played by Noah Taylor, a taciturn and earnest man, sometimes clashing with his younger partner but, ultimately, helping her in finding the solution to the mystery.

While the film is set in the present with the investigation, there are many flashbacks to the past, the gangs of young men and women who prowled the beats, sometimes bashing the gay men, sometimes throwing them over the cliffs. This begins to happen again with the killing of a young man of middle eastern background, his family in denial, and accusation against his partner, originally from Iran.

However, what is uncovered is a continuation of the “poofter-bashing� of the earlier times, some of the offenders getting out of prison, becoming involved in drug deals, managing gay bars, saving reputations of those under attack in the past, especially a sports personality, who is also murdered.

The film has a very strong supporting cast of top Australian actors including William Mc as the police chief in Bondi, John Brompton as a homophobic neighbour, Jeremy Lindsay Taylor as the gay friend, Danielle Cormack as a collaborative forensic investigator, Simon Burke as a lawyer.

1. The film based on a true story? The 1980s and 1990s? Crime, the police, bad and careless policing, gay bashings, deaths? The characters based on real-life characters? The families?

2. Bondi beach setting, the continued views, the beach, the ocean, the cliffs and the rocks, homes, parks and beats? Police precincts? Homes and flats? The different suburbs? The musical score?

3. The title, a metaphor, the images of water? Deadly? Tori and her swimming? The lifesavers? Swimming and drowning?

4. The style of the film as a miniseries? The information given about time and place? Characters, issues and their development?

5. Nick and Tori, as partners, 21st-century Sydney police, detective work, their boss? Their ages, personalities, the masculine style, the feminine style? Working together, the clashes, the developing of their friendship and collaboration?

6. Tori, her dead brother, the photos, the background story, her father, his work on the beach, discussions with him, his denial about his son being gay? Tori and her son, home, her care for him, concern and fears? Home scenes? Her past, as a child teasing her brother? The effect of his disappearance? Concern? The lack of information in 1989? Her pursuing the case, emotional involvement? Her friendship with Oscar, discussions with him, the revelation of his love for her brother?

7. The discovery of the murdered man, interviewing the boxing coach downstairs, his homophobic attitudes? The dead body, investigations, his partner, the computer and the gay program? Going to his family, there are upset, the mother in denial?

8. The gay computer program, contact online, images, dating, the killer using the service?

9. Tori going to the former policeman, his memories of the past, leaving the force, his criticism of policing the time, the stick and his giving it to Tori? The discussion about Chris Toohey, her meeting him, the threats? Hammer, the brothers and the gay bar, drug dealing? The increase in the number of deaths? Interviews, the death of the artist, the artist’s lawyer? Truth emerging?

10. Nick, no private life, his work, relationship with the boss, partnership with Tori, their discussions, agreements and disagreements? On the beach, the man with the knife, his shooting him? The subsequent investigations, the appeal to Tori’s loyalty, her answers to the enquiry? Nick with the family of the dead man? The decision to talk to the journalist, the boss realising what it happened, not wanting to be lied to? The discussions with Chris Toohey, the deal, his being caught with the gay man, his explanations? His death?

11. The police chief, in the past, his being there in the 1980s, 1990s, not going into action, blaming himself?

12. The role of the ex-policeman, his evidence? The discussions with Tori?

13. The introduction to Haris, dead, his partner, the family, in denial, the CCTV, the partner’s activity, filmed – and the explanation, phone calls, interaction, leaving? The dead man’s brother, information, the mother at the morgue? Finding the partner, his running onto the beach, caught, the interviews, his past and prison sentences, love, his escape, hiding, the phone call to Tori, in the cave, going to the beach, the police threats, drawing the knife, Nick shooting him?
14. Hammer, the club, the gay clientele, in the past, his gang, the bashings? The jail sentences? The bar, the drugs, the threats, especially to Tori? The photo of the gang – and hammers influence on the killer?

15. The character Oscar, with the surfboards, gay, open, friendship with Tori and her family, admission of his love for her brother, the interactions with her father, is putting himself in danger, the online service, the attacks and the violence, recovery?

16. The families of the victims, their stories, the investigations, wanting closure?

17. The killings in the past? The resumption of killings in the present? Haris, the art dealer, the connections, Chris Toohey and his sporting reputation, the media, his family, sex partners, with his lawyer, the past and catching up with him? His death?

18. The police staff, Brenda, her work in collaboration, DNA, the evidence – and supporting Tori with the sisterhood?

19. The visit to Sally, her past, her concern about her son, the thugs arriving in the street, the threats, the interview and confession?

20. The revelation of the killer, getting out of jail, his relationship with his mother, part of the gang, the interviews, the photo, Hammer, his hiding in the brothel, the final confrontation?

21. An insight into Sydney, society, the police, gay Sydney, the ethos, Mardi Gras et cetera? The bashings? The homophobia of the past – and into the present?

4 KINGS

Germany, 2015, 98 minutes, Colour.
Jella Haase, Paula Beer, Jannis Niewhoner, Moritz Leu, Clemens Schick.
Directed by Theresa von Eltz.

4 Kings is a glimpse of mental health amongst young adults, for people in an institution in Germany. There is a sympathetic psychiatrist who has methods which are not approved of by the authorities, getting the four into a group, some sharing rooms, all enabled to interact with each other for better or for worse.

With some of the group, there are glimpses of the parents, especially the two young women, one of whom has an absent father and a neurotic mother, the other who has a dominating mother and a passive father. Of the two young men, one is violently angry against his father, especially during a pre-Christmas visit, dismissing him as a weakling. The fourth member of the group has a very low self-image and attempts to kill himself.

While the psychiatrist is sympathetic, one of the nurses is a stickler for rules and regulations which has a harsh effect on the four.

The reference to 4 Kings is to a group of young children putting on a Christmas play and the arrival of the Magi.

1. A serious look at mental health of young adults? German? Universal?

2. The title, the reference to the Magi, the addition of King Alphonso? The reference to the four young adults, the children naming them the Kings, their wearing the crowns? Working with the young children, the discussions about the Kings, the making of the crowns?

3. Lyrics of the opening song, with reference to the behaviour of young people? The song during the final credits?

4. The setting of the institution, the wards, the rooms, shower block, corridors? The office of Dr Wolfe? The exteriors, the woods, the lake? The Christmas setting? The weather? Snow?

5. The prologue, Lara and the interview about Christmas, what she missed, her memories? The later taking up of this video?

6. The introduction to Alexandra, her neurotic mother, her father getting her for Christmas, her indecision, her mother as passive-aggressive and weeping, the father taking her? Seeing her with the injury, neck brace? Her explanation that she jumped out of the moving car?

7. Introduction to Fedja, from Georgia, quiet, passive? The story of his being bullied at school? Standing like a victim?

8. The introduction to Timo, his coming from the secure wing?

9. Dr Wolfe, his place in the institution, his theories, more permissive? Nurse Simone, her strict attitudes, defying Dr Wolfe? The treatment of the four? Hostility towards T-Mobile?

10. The meetings, the discussion group, Dr Wolfe taking them outside, their interactions?

11. Fedja, upset at Timo, sharing the room with him, the shower, the wounds on his back, his sitting down, Timo’s comment, his going to the window, jumping? Breaking his arm? His return? The talks with Timo, Timo urging him to stand up for himself?

12. Timo, perpetually angry, his rage, outbursts? The visit of his father, accusing his father of passivity? The father’s gift, his breaking it? Dr Wolfe finding it at the end? His interest in Alexandra, walking with her, talking? At Christmas, touches of kindness, the walk, wearing the crown?
Drinking? At the lake? Diving in to save Lara? Unhappy at the prank? His defence of Dr Wolfe, the attack on Simone, breaking her nose? His being confined, going to the secure wing?

13. Alexandra, gradually brought out of herself, going for the run with Dr Wolfe, leaping and shouting, venting anger at her mother? The friendship with Lara? The lake?

14. Lara, the visit of her parents, her dominating and critical mother, the kindly father? The gift of the book because it was the mother’s favourite? Her wanting to go home? The mother having so many guests at Christmas? The videos, Fedja interviewing her about Christmas? The interview with Simone and Simone having no life outside the institution? Alexandra and her wanting Christmas Day to have everything nice?

15. Dr Wolfe, his personal background, seeing him at work, his concern about the four? The criticism of Simone, reporting him to the director? The sitting, the director’s critique, curbing his stances, his slamming the door? His friendship with some of the staff? The final interaction with the four, with Timo?

16. The background of life in an institution, the mental health the young people, possibilities for rehabilitation?

THE SAMARITAN

Canada, 2012, 116 minutes, Colour.
Samuel L. Jackson, Luke Kirby, Ruth Negga, Gil Bellows, Deborah Kara Unger, Tom Wilkinson.
Directed by David Weaver.

The Samaritan has no reference to the gospel parable but is the name of a sting, a grift, a con in order to inveigle someone out of a great deal of money.

This is a Canadian production with Samuel L. Jackson as one of the producers, and opportunity for him to play a man who spent 25 years in prison for the murder of his partner, forced on him by a criminal gang. He tries to reconstruct his life, meeting old associates who want nothing to do with him, but getting the attention of the son of the murdered man who has plans for him to participate in a sting.

Initially, the film moves rather slowly, gradually building up to some plot developments, a revelation about Jackson’s character, Foley, and his relationship with a young woman, Iris, Ruth Negga. Unexpected implications mean that the young man is able to blackmail Foley into participating in the sting. The target is played by Tom Wilkinson with a rather over-the-top accent and performance. Deborah Kara Unger plays a woman who is to participate in the sting.

This is an ugly world, savage violence taken for granted, the film inviting the audience into it, to try to understand something of the motivations of criminals as well as of the ambiguous central character.

1. A crime thriller? Character study?

2. Canadian production, settings, the prison, the city, apartments, parole officers, bars, mansions of the wealthy? Musical score?

3. The title, the name of the sting by the grifters?

4. Samuel L. Jackson as Foley, in prison and his ruminations, getting out, parole officer, trying to get employment, going to see old associates and their not wanting anything to do with him, meeting Ethan, the son of the man he killed? The flashback to the forced execution? Going to the bar, Iris and the attempted rape and his hitting the assailant? His age, experience?

5. Ethan, son of his father, resenting the death of his father, his background in crime, son of his father? The story of his mother, her new boyfriend, the attack? His control over Foley, over Iris? The contact with Xavier? His wanting to force Foley into helping him with the sting? The blackmail, the pressure? Setting him up with Iris? Sabotaging his job on the worksite? The revelation about his daughter, Foley’s reaction? The pressure on Foley and the threats to Iris? Foley reluctantly agreeing?

6. Iris, drugs, prostitution, the approach to Foley, in the bar, his rescuing her from the rape attempt? The encounters, talking, the sexual attraction, setting up house, the mutual love, the confidences? Ethan and the revelation that Iris was Foley’s daughter? Foley’s reaction, wanting to protect Iris? His urging her to go away? Her going with Ethan? Becoming part of the plot?

7. Foley, the relationship with Iris, the revelation of the truth, its effect, his wanting to protect Iris? Ethan’s blackmail? The encounter with the thug, the fight, his death, putting him in the boot of the car?

8. Agreement about the sting, the plan with Helena, the meeting, discussions, the wife and the money routine, her response to Ethan, to Foley, her hanging herself?

9. Iris coming in on the plan, posing as Foley’s daughter? Putting herself in the situation with Xavier? Phone call, the plan, the execution of the plan? Iris denouncing it, telling the truth, knowing about being Foley’s daughter? The shootings? Ethan shot, his shooting at Foley and Iris? Ethan,
the confrontation with Xavier, Xavier wanting to do all the money laundering deals? Foley killing him?

10. Foley’s friend, doing surgical work, the blood transfusion, Foley willing, giving his life for Iris?

11. The film immersing the audience in a seedy and ugly world?

GOOD TIME MAX

US, 2007, 79 minutes, Colour.
James Franco, Matt Bell, Vince Jolivette, Wilmer Calderon, Richard Portnow.
Directed by James Franco.

James Franco must be one of the most prolific actors, writers, directors anywhere. After establishing his film career in acting, he developed into a student, writing stories, and moving into film direction. This is one of his earliest films as director – and a credit for co-writing as well as his performance.

This is the story of two brothers – and Franco has dedicated this film to his own brother.

This is not the most interesting film ever made! And, its basic plot of two brothers, very intelligent, each going in different paths, the rivalry, betrayals, mutual help, is not unfamiliar. But Franco uses a great deal of home movie style for flashbacks and scenes between the two brothers to contribute to the atmosphere.

He himself portrays the good time Max of the title, doing drug deals, a con who is confident in himself, persuading his brother, a very serious medical intern, to take him to California. He gets a job in IT but is led into taking amphetamines, leading him into too much of a good time life. Meanwhile his brother, played by Matt Bell, is popping pills to sustain his career as a surgeon – but, eventually, is arrested and disbarred.

A film for those who want to appreciate the completeness of James Franco’s career.

1. A James Franco project? Early in his career writing and directing? His prolific output?

2. Initial New York settings, the young boys, growing up, studies, home? The transition to Los Angeles, the IT companies, the hospitals and interns, apartments, clubs, aviation? Musical score?

3. The introduction to Max and Adam, Max and his dancing as a little boy, Adam and his studies, their work at school, advanced capabilities, success?

4. Growing up, Max and his friend, the drug deal, the impure cocaine, the customer, the girl, testing the drugs, getting the money, Max and the girl, the customer coming in, the attack, the gun?

5. The contrast with Adam, his medical studies, success? His going to California? Max asking him to go as well? Their mother? The absent father?

6. Max, getting clean, getting the job, self-promotion, seeing himself as a genius, his success at work? Ingratiating himself with Bruce? Going out to the bars with Bruce? The aviation and the danger? At work? The work partner, science-fiction, the rockets, their friendship? The introduction to Ice? Max and his hesitation, agreeing, taking the drug, the other workers in the firm? The effect on Max? Concealing it from Adam? Setting up with the girlfriend? His life becoming dissipated? Deals, his being arrested, jail?

7. The contract with Adam, his work in the hospitals, his popping pills to keep going? His good work, exasperation with Max on discovering the truth, the engagement, the wedding? Discussions with Max about their father the visit of the mother and her boyfriend? Max having the hallucination that they were sexy nurses?

8. The father being ill, Adam organising the trip, Max and his going off with his friends, ignoring reality? Adam sitting with his father, death and funeral? The return? Max and his trying to be convincing about his change of heart?

9. Adam, the continued pills, malpractice, his being challenged, arrested, disbarred? Max taking him in?

10. A portrait of two brothers, abilities, crashing, failures, possibility of rehabilitation?

 

 

 

 

REGRESSION

Spain/ Canada, 2015, 106 minutes, Colour.
Ethan Hawke, Emma Watson, David Thewliss, Lothaire Bluteau, Dale Dickey, David Dencik, Devon Bostick, Aaron Ashmore, Peter Mac Neil.
Directed by Alejandro Amenebar.

Regression is a psychological term for this film and its themes, a focus on memories, repressed memories and the therapy used to recover memories, a regression into the past. However, while the film shows a psychologist and his techniques and interviews, hypnotism, for recovering memories, a lot of the practice is rejected and under suspicion.

The was written and directed by the Spanish director, Alejandro Amernbar, best known for his is films, Open Your Eyes, The Others, The Sea Inside. With the first two films, he is interested in psychological dimensions of human experience and memories and draws on them here.

The setting is the 1990s in the state of Minnesota, a spate of Satanism which the FBI investigates as do local police, especially when there are accusations of sexual abuse within a family, a father abusing his daughter and context of Satanic rituals.

Ethan Hawke portrays a detective in the town, becoming more and more emotionally obsessed with the situation, disgusted with the accusations, trying to be a saviour to the young girl victim but with a rage inside himself leading to all kinds of ultra-vivid nightmares about Satanism and the rituals.

David Thewliss portrays the psychologist who collaborates with the detective in interviewing the accused father, in speculating, as does the father, about the memories he cannot bring to surface while admitting the behaviour. Emma Watson portrays the young girl, subject of the abuse, while Devon Bostick portrays her brother whom his father had rejected because of homosexuality. Dale Dickey is the grandmother who tries to deal with the family disturbances.

There are complications within the police force, especially with the detective's partner, played by Aaron Ashmore, who is arrested for the abuse.

As the investigation becomes more intense, the young woman is shielded in a church by the local Reverend, (Lothaire Bluteau from Jesus of Montréal and Black Robe). The detective is particularly critical of religion and the focus on evil and Satanism.

There is a final twist when the reality is much more mundane, the girl angry with her family and making false accusations, being taken up by the Reverend, by the media.

The film is very similar in theme to the television movie, Forgotten Sins (1996), John Shea is a local detective accused of abusing his daughter, arrested, admitting the abuse but unable to remember it, her being shielded by the church, but the reality being conspiracy of accusations by the daughter.

1. The title, expectations? Mystery? Satanic rituals?

2. Based on actual events? The US, the 1990s? The spate of reports of Satanism?

3. The work of the director, Spanish perspective, working in Canada? His reputation and body of work?

4. The background of Satanism, audience attitudes? In the different American churches? The religious dimension? The diabolical and the presence of evil? Satan, the traditions, the visual images, Satanism? Covens? Rituals, the garb, the dark, candles, sacrificial victims, blood, Black Masses? As visualised here? The FBI and police investigations? Ultimately finding no evidence? The spate of Satanic groups dying out?

5. Psychological background of the film, sexual abuse, memories, repressed memories, false memories? Hysteria, a community creating memories, suggestions? Guilt and motivation?

6. The family, John, going to the police, praying in the car, Angela's accusations against him, confessing, but not remembering? His relationship with his daughter, his absent son? With his mother? His being interrogated by Bruce? By the psychiatrist? His bewilderment, regretting not being able to remember? His son and his homosexuality, his father alienating him? The role of the Reverend, the church?

7. Bruce, the local police, as the detective, his chief, the accusations of abuse, his determination to get to the bottom of the case, his emotional involvement, hypertension, his dreams and his becoming the victim of the Satanic rituals, the characters, the woman on the advertisement the hoarding and the soup, his being humiliated, tortured, his panic in waking? The interrogation of George, his disowning him? The other members of the force? George in jail, getting out, he and the associate bashing Bruce? Bruce and religion, the encounters with the Reverend, discussions about faith, evil, agnosticism?

8. The Reverend, his church, conscious of evil? His giving shelter to Angela?

9. Angela, her age, accusations of abuse by her father? Sheltered in the church? Her meeting with Bruce, her innocence, the attraction to Bruce? Her memories, Satanism, her father, her grandmother, her brother? Getting Bruce's help?

10. The grandmother, her relationship with the rest of the family, her becoming caught up in the Satanism, her throwing herself out the window?

11. The FBI, the investigations, the police work, the superintendent? The meetings with the police, disbelief in Satanism, the routines of police work?

12. The psychologist, his background, his personality and techniques, interest in memories, repressed memories? The use of hypnotism? The variety of interviews, with John, the discussions with Bruce?

13. The son coming back, his alienation, the clash with his father, the background of homosexuality and his being condemned?

14. The discussion with George, the reality of Angela, sexual encounters, rape, abortion? Bruce and his beginning to doubt?

15. The challenge from Angela, the fact that she resented her family, her false accusations? Her turning on Bruce? Her father still prepared to take the guilt even knowing the truth?

16. The media, books and publications, the book by the previous victim? Angela and her going on talk shows? Not being prosecuted?

17. The film's comment on Satanism, mass hysteria? Malicious accusations and the consequences? And the role of repressed memories, falls memories?

 

I, DANIEL BLAKE

UK, 2016, 101 minutes, Colour.
Dave Johns, Hayley Squires,
Directed by Ken Loach.

Seeing I, Daniel Blake, is an activity to be recommended.

This film is a moving slice of contemporary life in Britain, Newcastle upon Tyne, but a story that many audiences around the world will resonate with. It is the work of Ken Loach who, for almost 50 years, has been committed to social concern, the problems of daily living in real life, showing them with compassion – but also an undercurrent of anger. Some have commented that this film is partisan, unsubtle, lacking artistic complexity and finesse – but, that is the way Loach makes films and presents his story with a force that most audiences do respond to.

So, who is Daniel Blake? He is a 59 year old carpenter who has had heart problems, a widower, no children, but the kind of decent man that you might find in the street, or anywhere. He is played by stand-up comedian, Dave Johns, who has not appeared in many films but has made television appearances – a new face for most audiences who comes across as a very likeable character.

The film opens in darkness with Daniel heard filling in a form with a succession of bureaucratic questions that don’t necessarily meet the situations in which he finds himself as regards health, possibilities of working again, financial help from government agencies. He is frustrated – and we along with him. That is only the beginning. There is a lot more bureaucratic frustration as the film goes on – maybe exaggerated a little when he tries to make contact by phone, hears the various recorded responses, and the music played over and over – and over – with a wait of over an hour and a half. Many in the audience are really on side by this time, everyone thinking about their similar experiences.

His visits to the government offices are not much better.

Only this morning in the local paper, somebody has written a brief letter saying that all bureaucrats and those who work in such centres need to see this film. It is not as if Daniel Blake is saying that there should be no bureaucracy. Rather, it is how the rules and regulations, interviews and forms, should be handled with people as people and not as file numbers. We know this but seeing some of these officials in action, obtuse in their demands for details the client is unable to offer, insisting on forms being filled in online when the older person is not adept at using a computer let alone the online complexities…

But, Daniel Blake is a very nice man, sticking up for a young woman with two children in the office as she is ushered out because she cannot answer questions accurately. This is Katie, moved up to Newcastle from London to government accommodation which has been impossible in London. Katie is played by Hayley Squires, and creates a very believable and sympathetic character, a good woman, conscientious with her children, wanting the best for them while going hungry herself. But, with Daniel she finds a kindly friend whom the children can respond to and who does a lot of handy work around the flat.

Daniel also has an interesting neighbour who imports sneakers from China, dubiously, and sells them cut-price in the street. Daniel is a wise figure in his life as well.

So, for much of the film, we follow Daniel trying to phone, trying to answer questions in the interviews, struggling with the forms, going from place to place enquiring about job opportunities – only to be told that he has no proof to offer that he actually did this, even after he was ordered to go to a workshop on writing CVs, which he did, handing them out.

The film becomes much sadder as it goes on, especially for Katie trying to make decisions for the children, a moment of shoplifting, a seemingly kindly offer of help from a security guard that isn’t. And, it is sad for Daniel as he finally gets a date for his appeal to get some kind of financial subsidy, his doctor and physiotherapist truly angry at the way that the bureaucracy has mishandled the case.

One of the criticisms of the film is that Daniel and Katie and the next-door neighbour are engaging characters and not the kind of dole-bludgers whom it is easy to condemn. But, we know this – and do we really want to spend this time with cons and bludgers and their way of doing things or do we want to see genuine people and share their experiences? Of course. But, they (and we) are so often trapped, become the victims of people whose characters are rules and regulations focused, rigidly interpreting them instead of listening to people and trying to be sympathetic if not empathetic.

(Of all film directors, Ken Loach is the director who has received the most awards from Catholic and Ecumenical juries around the world, including this film. Invited to Cannes in 2004 to receive a lifetime award from the churches, he attended, gave a speech of appreciation, saying that he grew up with an image the Catholic Church as a monolith but, over the years, especially because of his 20 year collaboration with Scots, Paul Laverty, who spent a number of years at the Scots seminary in Rome, and writes all Loach’s screenplays, he has become a great dramatist of social justice issues. Actually, at the time of the award in Cannes, the entertainment union was on strike in can’t and Loach brought in to young people on strike as a symbol of his film concerns.)

1. Acclaim for the film? The prize at Cannes? Ken Loach at 80, in the light of his whole career?

2. Loach and his 20 years plus collaboration with writer Paul Laverty? Laverty’s religious background? Social concern? The strong writing – and Loach able to elicit deep feeling from the screen plan performance?

3. A British story, a universal story? Daniel as an Everyman, of the 21st century?

4. The Newcastle setting, the north of England, the characteristics, language, accent, its not being London? The look of the city, the streets, homes and flats, offices, garages and worksites, the food bank, the supermarkets? The feel of the city? The musical score?

5. The opening, the screen black, the audience hearing the questions and Daniel’s answers, the bureaucratic questions, his wanting to explain the answers? Audiences identifying with him? Establishing the mood of the film? Partisan in terms of critique of bureaucracy?

6. The themes of work, the workplaces, injury, health and heart attacks? Social support? Legislation? Rules and regulations? Forms of their complexity? The strict interpretation of regulations? No human understanding of the clients and their questions? Harshness of interviews? Officials being definite? Phone calls to social services, the long waits, the repetitious music, the recorded voices? Forms to be completed online, older people and their lack of capacity for working on a computer? Audience expectations of bureaucracy, the bureaucratic world? Some officials – and some moments of sympathy, Anne and her concern for Daniel, in trouble with the boss?

7. Daniel, his age, 59, his life so far, his happy marriage, his love for his wife, the photos, the memories and mementos, his telling the stories about her? Her health, physical and mental condition, the hard life and so long looking after her? No children? His work as a carpenter, his skills, fixing Katie’s house, building the bookcase, his knowledge of wood and his feeling for wood and the woodwork? Going to the doctor, the visits, the physio? The documents? The forms – and his application to work again or his health benefits, his need for money, his later having to sell everything In the house? The bureaucrats and the reference to the Decision-maker, passing on the forms? The possibility for an appeal? Daniel being put down? Having to fill in forms on the computer, owing to the library, getting help, make mistakes? The help from his next-door neighbour?

8. Dave Johns, a stand-up comedian, his embodying Daniel Blake, his presence and communication, look, bald, a genial man, his flat, his worry about the litter from next-door, receiving the parcel, his neighbour, his scheme with the sneakers and explanation, the Skype link with the man in China, the enthusiasm about British football? Daniel and his having to go to the seminar on writing CVs? The tone of the instructor? His being required to seek out work, asking various bosses, no work available, his CV, the sympathetic man phoning – but his not being able to accept? The bureaucrats and the requiring proof that he had sought work?

9. The character of Katie, the argument at the office, Daniel intervening, asking the people waiting to let her go first? The guard, severity? Daniel ousted? Befriending Katie, her story, child born at 18, the second child, the two fathers, dependent on her mother, waiting years for accommodation, transferring to Newcastle? Daisy, attractive, intelligent? The boy, the experience of being confined, lack of communication, bouncing the ball – and later answering the question about coconuts and sharks? Katie phoning her mother in London? The lack of money, Katie hungry, Daniel buying food, the meals, the sharing? Repair work in the house, the various ways of heating the house, his repairs, the domestic details? Going to the food bank and Katie opening the can, so hungry? At the supermarket, the shoplifting, the kind manager letting her go, the security guard apologising, giving her the phone number – and a contact for prostitution, her going to meet him, the Madam and the setting up of the room, the Madam and her offering to take care of Katie?

10. Daniel finding the note and phone number, finding Katie, his being upset, her upset, having the money, breaking off seeing him?

11. The hearing of his appeal, her going in support, the lawyer in the wheelchair, waiting, the tribunal, the talk and his declaration about his situation and its seeming impossibility?

12. Is going to the bathroom, collapse, death?

13. The funeral, Katie and the significance of her eulogy, Daniel is a good man?

14. A comment on the film that it showed no dole bludgers but rather good people – and audiences seeing enough of those rorting the system but
seeing the story of those in genuine need?