LA DOLCE VITA

Italy, 1959, 170 minutes, Black and white.
Marcello Mastroianni, Anita Ekberg, Anouk Aimee, Yvonne Furneaux, Nadia Gray, Alain Cuny, Lex Barker, Jacques Sernas, Magali Noel, Laura Betti.
Directed by Federico Fellini.

La Dolce Vita is a classic film of Italian cinema, winning the Palme D’ Or at Cannes in 1959, confirming the status of Federico Fellini as one of Italy’s leading directors of the 20th century. By this stage, he had made several significant films including Oscar winners La Strada and Nights of Cabiria. He was then to go on, during the 1960s to make such classics as 8 ½, Juliet of the Spirits, Fellini Satyricon, continuing into the 1970s and 1980s.

La Dolce Vita is a film about Italian society, specifically Roman society during the 1950s. Its famous opening, implying some kind of moral judgement, has a helicopter transporting a statue of Jesus over the city. In the helicopter is Marcello, a middle-aged journalist, something of a roue, hobnobbing with the social classes, attractive to women, engaged to a neurotic woman, dissatisfied with life, looking for opportunities – but ultimately looking away.

The film is in striking black-and-white, widescreen. it has a musical score by Nino Rota and incorporates many of the popular songs of the period.

The film consists of a number of episodes, activities during the night and the consequences in the following dawn. Perhaps the best known is that of the paparazzi going to the airport to greet the international star, played by Anita Ekberg, and Fellini’s satire on the paparazzi, on celebrities – and the famous scene of Anita Eck Berg splashing in the Trevi Fountain.

There are some domestic sequences between Marcello and the women, reporting on children who have seen apparitions of the Virgin Mary, nightclubbing, seeking out his friend Steiner (Alain Cuny) who seems an ideal but who disappoints Marcello, a night out with his father.

Significant is the character of a young girl serving in a trattoria who disturbs Marcello as he is typing but with whom he has a conversation – and it is she, at the end of the film, who offers him some kind of hope, but he cannot make out what she is calling to him across the beach.

While the film is certainly of its period, it is most interestingly made, and is a portrait of the period as well as something of an indictment.

1. Acclaim, awards, the career of Federico Fellini? Italian cinema in the 1950s and 1960s?

2. The city of Rome, black-and-white photography, widescreen? The aerial views of the city? The Trevi Fountain, the locations for the action, The homes, the castle, the beach?

3. The musical score by Nina Rota? The incorporation of popular Italian songs?

4. The range of the cast, Italian and International?

5. The structure of the film, the series of episodes, the nights, the dawns?

6. Marcello, the screen presence of Marcello Mastroianni, Italian icon? His age, the character and his background, his absent father, his regard for his mother, his journalistic career, assignments, following the celebrities, with the paparazzi, his cameraman? His friends, associates? His relationship with Emma, love, concern? His encounters with Maddalena?

7. The statue of Jesus hovering over Rome, the visuals, modern Rome, the bathers at the pool, the old city, the Vatican? The religious and cultural significance of this presence of Jesus over Rome?

8. Marcello at the clubs, the encounter with Maddalena, her background, being bored, his going away with her, to the woman’s apartment, the affair with her?

9. His concern about Emma, his return, her taking the pills, emotional distress, the love, the later phone calls, her clinging to him, her wanting reassurance that he was not alone with Sylvia, accompanying him to the parties, his concern about her treatment?

10. The range of other women in the film and Marcella’s attraction to them, Sylvia?

11. Meeting Sylvia at the airport, the paparazzi, Anita Ekberg in the role, her presence, statuesque, language, the press conference and the range of questions, inane questions? Her relationship with Robert? Silly going to the Vatican, climbing St Peter’s, the comment on her energy? Going dancing, the Baths of Caracalla, the range of people present, the men and women, older and younger, the touch of the grotesque? Her dancing with Marcello, Robert and his drinking, drawing caricatures? In Rome, going to the Trevi Fountain, the famous sequence, Sylvia and anointing Marcello with water, going home, Robert angry, slapping her, punching Marcello?

12. The episode with the children and their visions? The children themselves, confusion? The adults all gathering, wanting to follow the children? The priest, his caution, scepticism? The media? The pilgrim with his mother, trampled by the crowd? Emma present, her prayer to the Madonna about having sole possession of Marcello’s heart?

13. The significance of Steiner? Marcello going to the church, the priest genial and lending Steiner the Sanskrit book? Steiner playing the organ? The gathering at his house, his wife and children, culture, poetry, sounds of nature, discussions about marriage and an ideal, Steiner and his being in the middle, not a specialist, not an amateur? His concerns about the world and the future for his children?

14. Marcello meeting his father, going to the club, Fanny and her relationship with Marcello, his failure to get her photo in the media, her attraction to the father? Marcello explaining to the paparazzo his relationship with his father? Going to Fanny’s place, the father having a heart attack, Marcello concerned and getting treatment?

15. Marcello at the beach, trying to write, the encounter with Paola, from Umbria, the simplicity, listening to the jukebox, talking to Marcello – and her later being the final image of the film?

16. The meeting friends on the Via Veneto, the decision to drive to the castle, with Maddalena, the party, explorations, the echo chamber, Maddalena’s proposal, the other man kissing her, the night, the American, Jane, and Marcello with her? The owner in the morning at her going to Mass, with the clergy?

17. The drive with Emma, in the car, stopping, the argument, Marcello’s complaints about her possessiveness, a reaction, pushing her out of the car, waiting by the roadside all night, Marcello returning, picking her up, going home, the scene of them in bed together?

18. The phone call, the news about Steiner, his killing himself and his children?

19. The passing of time? Marcello still in this Dolce Vita world? The party, Nadia and her divorce from Riccardo, Riccardo and his spurning the people, Nadia doing the striptease? The reaction of the men and women, old and young, the film star, the gay man and relationships? The touch of the orgy? Marcello and his getting the pillow and scattering it over the guests?

20. Dawn, going to the beach, the whale stranded, a contemporary leviathan, the reaction of everyone, the focus on the eyes?

21. Marcello on the beach, seeing Paola, her signalling, his not being able to hear her, a possibility of a change of life – but his turning and going
back to join the crowd?

22. The film seen as a morality play, observation on life in Italy in the 1950s, post-war Italy?

NIGHTMARE

Germany, 2016, 92 minutes, Colour.
Carolyn Genzkow.
Directed by Akiz.

At the beginning of the film, the makers urge the audience to accept loudness of the soundtrack, even to turn up the sound. The reason is that there are many sequences of hard rock music, instruments, dancing, partying.

The central character of this film, who has the nightmare, is a young woman, finishing her schooling, seen sometimes in class, with her girlfriends, though spending a lot of her spare time out partying, drinking, drugs, flirting.

At the opening, she and her friends are in the car, taking selfies, when they find a mysterious creature in one of the photos. And so the question arises, how much is in the young woman’s mind, especially when she goes home, hears noises downstairs, sees a creature outside the refrigerator, who is not seen by her irritated parents.

As the film goes on, she sees the creature more and more, sometimes placid, sometimes aggressive, always rather mysterious. It so affects her that her parents advise her to see a counsellor, who tries to be sympathetic as well as positive. She also alerts her poetry teacher who tries to have a conversation with her.

So, where is this to go? The continued nightmare? Some kind of waking up and healing? This is not the kind of film that offers clear-cut solutions and endings.

LEAVE IT TO BEAVER

US, 1997, 84 minutes, Colour.
Christopher Mc Donald, Cameron Finley, Janine Turner, Eric von Detten, Adam Zolotin, Barbara Billingsley, Ken Osmond.
Directed by Andy Cadiff.

Leave it to Beaver began its life on television in 1957, lasting for six seasons with 235 episodes. It was extremely popular for family entertainment, focusing on a family in Ohio, the ups and downs in family life, at school, in the neighbourhood.

In the 1990s, Hollywood decided to make movie versions of many of the popular television shows, Sgt Bilko, Mr Magoo, The Brady Bunch… This is the version of Leave it to Beaver, which pleased a number of audiences but also put off many who remembered the television series.

It is very American in its presentation of family, affirmation in the family, yet highlighting the difficulties, especially in parenting and the reactions of young boys. It may be life in the American midwest but it is a sweetened version.

The interesting feature of the film is the presentation of Theodore “Beaver� Cleaver. He is played by Cameron Finley, a very little kid, sometimes in the shadow of his older brother, Wally, always messing things up – as is illustrated in the farcical pratfalls in the opening credits with the boys delivering papers and everything going wrong, a catalogue of comic errors.

Christopher McDonald? plays the father and Janine Turner are somewhat glamorous suburban mother. Beaver is always wanting to please his father and interpreters his look as being judgemental. When he wants a bike for his birthday, he is advised by the mutual no-it-all friend, Eddie, to suck up to his father and make a good impression. Beaver then carries his case, decides to sign up for football, with his father remembering his career at college. there are quite a number of football sequences with the tiny beaver, and the harangues of the coach.

Interspersed are some flirtatious moments for Wally and his friend, Eddie, who is looked down on by the girls.

There are also some bullies, especially after Beaver has a happy birthday party and is given the gift of a bike. The bullies steal the bike and dare Beaver to climb up into an advertisement hoarding with a coffee cup to see whether there is coffee actually in it – he does so and then refuses to come out, his father finally coming with the fire brigade to get him, taking the opportunity to have a talk to his son and listen to Beaver’s comments about his stern look (something which Beaver’s father did for him).

Happy endings all round as would be expected in this middle American town.

HAEMOO/ SEA FOG

Korea, 2014, 111 minutes, Colour.
Directed by Sung-bo Shim.

Haemoo was in consideration for Oscar nomination from Korea. It won many local and Asian awards.

The film is quite an intense piece, a story of poor fishermen on an old boat finding diminishing returns in the sea, the boat needing repair and causing accidents, the pressure on the captain and other members of the crew.

The captain is approached by a and persuaded to take on some, refugees from China making for Korea. The crew go along with the captain’s decision although the youngest member of the crew, Dong-sik, is cautious.

There is drama as the refugees are transferred to the fishing boat, leaping from the other boat, one falling into the sea and having to be rescued by Dong-sik. The refugees are hidden in the hold where the fish were kept but, after the inspection and payoff of the inspector, the hatches open and all the refugees are dead, gassed. To conceal the event, the captain quarters all the bodies to be hacked to pieces and thrown into the sea.

After this, there is some mayhem, especially when one sailor wants to report the events to the police and is killed, and when Dong-sik has sheltered the young girl he rescued, lustful envy crops up.
There is a rather rueful ending six years later.

1. Contemporary issues? Refugees? People-smuggling? Economy issues?

2. The Korean perspective, the fishermen and their difficulties, the old boats, the lack of fish, law and enforcement, refugees from China, the prospect of cash, working with the people-smugglers?

3. Audience response to issues of people-smuggling? Refugees, asylum seekers? The smugglers, money issues, motivations? The boats, the conditions, disasters?

4. The introduction, the boat, the details of all the activity, each of the sailors, the feel of life on the boat, the captain and his crew, the young Dong-sik? The port, the fishing, the difficulties, the accident at physical dangers? The captain going home, conditions at home? Dong-sik and going to see his grandmother? The men, in port, sexual relationships? A cross-section of the sailors?

5. The difficulties, the boat, the motor crisis, the people-smuggler approaching the captain, persuasive, the cash, making the decision? Telling the crew only after the event? Their agreement?

6. Putting to sea, the conditions, the night, the boat coming closer, the light of the signal? The dangers of boarding, jumping from the ship, the girl falling into the sea, Dong-sik and his rescue?

7. The authorities, the inspector, hiding the refugees, the inspector hearing the sounds, his being paid off?

8. The refugees on deck, the night, the crowd, cold, their being given the food, the men and their lustful approaches? Dong-sik and his taking the girl into the engine room? Her searching for her brother, self-consciousness? Going back on deck, being hidden in the engine room again?

9. The deaths of the refugees, their being gassed? The captain, his decision to chop up the victims and dispose of them in the ocean?

10. The increasing mayhem amongst the crew, the sexual advances, chasing the young woman? One threatening to report to the police? The captain and killing him? The fights, Dong-sik and his relationship with the girl, the sexual encounter? Others’ envy?

11. Six years passing, Dong-sik and his work, leaving, seeing the girl in the family? No contact?

12. A comment on the increasing issues of boat people, their treatment, people-smugglers?

AMERICAN HONEY

UK/US, 2016, 163 minutes, Colour.
Sasha Lane, Shia La Boeuf.
Directed by Andrea Arnold.

Star is a young girl, 18, with a partner, looking after her brother and sister for her mother who doesn’t seem interested, trying to survive – and we see her with the kids on the road, trying to get a lift, cars passing by, her going to the supermarket, seeing a van load of young people boisterously coming in, allowing the children to have a drink in the supermarket, fascinated by one of the young men who dances on the checkout counter, following him out where he offers her a job in door-to-door sales. That’s the beginning.

As to the title, Crystal, who is in charge of the group, asks Star whether she is an American Honey, sweet and attractive? This is also the title of the song which contributes to the finale of the film, the group of young people, including Star, singing the song as they drive into the future.

This is a road movie. This is a piece of Americana. What makes it more interesting is that it has been written and directed by Andrea Arnold from Britain (Red Road, Fish Tank, Wuthering Heights).

The way that Andrea Arnold looks at Americans and the United States along the roads of the midwest and into Texas is by using a handheld camera (somewhat irritating for those who prefer classic modes and not the jerking, “realistic� style of photography) as well as the old-style box framing on the screen. This has touches of the home movie, the capturing of life as it is in a documentary style while creating a fiction.

Sasha Lane is persuasive as Star. It is principally Star that we are watching, whom we are invited to identify with – which may be easier for a younger audience but may at times try the patience of an older audience. What she has got herself into is something of a commune group on the road, travelling in a van, a great deal of camaraderie. If we are feeling a touch censorious, we might be tempted to think that these are idle young people, judging them by their look, their clothes, their freewheeling attitudes.

But, on the contrary, they are participating in the American capitalist dream. They do actually do door-to-door sales and our highly organised by Crystal. She controls the timetables, the plans, knows the various districts they are working in, has receipts for magazine subscriptions all printed out – and, at the end of each day, she collects the money, giving the young people not such a high percentage and keeping the rest for paying for food and accommodation and travel.

So, this is a rather sympathetic picture of contemporary young people, seemingly aimless at times, yet with some purpose, but no great long term planning. Star is surprised at one stage when she is asked what her dreams are, never having been asked that before. She is not the dreamy type, initially reacting rather negatively to the spiels that are created to entice people to subscribe to the magazines, bluntly criticising. However, she moves into the vein of the work, some strange experiences, especially with a group of good old boys who take her to a ranch where she shows off, drinking too much, their all finishing up in the pool, but in fact they all take out subscriptions.

There are at truck stops, quite some encounters with a variety of truck drivers, some friendly, some overtly sexual. They are trained to be shrewd in assessing people’s characters, the context, matching their stories for sympathy and sales.

While Star becomes emotionally entangled with Crystal’s man, Jake (Shia LaBoeuf), her kindliness is also drawn out, especially when she encounters some kids in a “trailer-trash� situation, listening to them seem, buying them groceries.

Many critics have found this film quite powerful. It won the Ecumenical award at the Cannes Film Festival in 2016. On the other hand, it is very long, almost 3 hours and, if the characters and their situations do not draw the audience in, it could be something of an endurance.

1. The title, Crystal and Star and the discussion? American woman? Sweet and attractive? The song in its lyrics, the group singing at the end?

2. The director, her British background, a perspective on the United States, comparisons of young people in different countries?

3. Road movie, the towns, the highways, the countryside, ordinary and flat, crops, digging for oil, the canyons? The affluent cities, the trailer locations? The cross-section of America?

4. The director and his style, the classic box frame, the handheld camera, close-ups and intimacy, a documentary style, yet creating the fiction? The effect? The very long running time?

5. Songs, the range, popular, group singing, dancing, the use for motivations, creating a common spirit? The lyrics and their meaning?

6. The focus on Star, audiences identifying with her on not? First impression, her age, with the children, something for the lift, the cars passing by? Going to the supermarket? Jake and the van and the crowd? Inside, flirting? His attraction, the dense on the counter? Following him out, his invitation, her taking the kids home? At home, the house, her preparing the meal, her partner being amorous? The decision to leave, out through the window, taking the children? Going to the dance hall, her mother and the line dancing, her father? The reaction of her mother? Leaving the children, running away? The group, the impression on the audience, their ages, male and female, there look, clothes, family backgrounds, the puzzle about why they were on the road at this age, the use of drugs, sexual relationships, an atmosphere of freedom? Their interactions, some loud, some quiet, the man exposing himself? Their spirit?

7. Audience response to the purpose of there being together? American capitalism? Crystal, her character, age, control, her brains of the plans, well prepared, documents?

8. Jake, his recruiting Star, meeting Crystal, Crystal’s decision, her being partnered with Jake, the manual, the rules, learning them? The emphasis on money, her hopes?

9. The going out, the affluent house, the variety of plans, the Speigel’s, performance, the variety of scenarios to appeal to people, the techniques of talking to people in the context, homes? Collecting the money? The subscriptions for the magazines? The receipts? Crystal collecting the money, they’re handing it in, the details of the percentage they would receive?

10. The first home, affluent, the young girl had her birthday, her mother, inviting them in, the welcome, Jake and his story, his studies, the woman laughing, Start upset, taunting the woman, swearing, being ousted? Taunting the woman about her daughter and the devil?

11. The range of people and the range of homes, the encounters, the beginning of the stories, the different scenarios that Jake would spin? Not necessarily seen whether they were successful or not? But the handing in of the money?

12. Going to the truck stops, the drivers, the discussions, personal, the friendly drivers? The overtly sexual drivers? The effect on Star?

13. Star being picked up by the men, the good old boys, the barbecue, the drink, Started drinking too much, in the pool, pulling the many in? The subscriptions, getting the money? The wolf sounds and Jake arriving? The escape in the car? The effect on the two of them, the sexual encounters? The further sexual encounters, explicit? With the background of Jake and his relationship with Crystal? The moods of each?

14. The other characters, they’re introducing themselves, but not always making an impact with the audience? The long time spent in driving, in the audience looking at the characters, getting to know them better?

15. The stop at the Canyon and their amazement? The oil fields? Going to the trailer park, they’re looking at the variety of houses as they passed, poor, the kids playing? Getting out, Star going to the house, the children, the little girl and her singing the song about killing children, precocious and friendly, the boy? The mother and her drugs, passed out? Seeing Star in the supermarket, her buying the groceries, going to the door and leaving them for the children?

16. Crystal and her clash with Star, talk about Jake, her taunting Star, Jake of the recruits, payment? His going off on the motorbike? The effect on Start?

17. Crystal, wondering whether she would get rid of Start?

18. The singing on the bus, Jake returning, this Start looking, quiet? The group spirit, American Honey? The future?

19. A portrait of young people, their having some vitality, sense of freedom, but caught up in survival, poverty – the film as reflection on young people, present and future?

ELLE

France, 2016, 130 minutes, Colour.
Isabelle Huppert, Laurent Lafitte, Anne Consigny, Charles Berling, Virginie Efira, Judith Magre, Christian Berkel, Jonas Bloquet, Alice Isaaz,
Directed by Paul Verhoeven.

Elle is a very uncomfortable film to watch. It has many characters and plot strands, quite complex and complicated. And the characters are ambiguous. And the situations provide moral, immoral and amoral questions.

Isabelle Huppert has been toplining films for almost 40 years, one of the world’s significant actresses, and her performance here is very striking, and she has never shied away from difficult roles and difficult interpretations (remembering such films as The Piano Teacher). And the director is the Dutch Paul Verhoeven who has never shied away from difficult themes either – audiences tend to remember that he was the director of Basic Instinct and of Showgirls (unfortunately forgetting his powerful Dutch war drama, The Black Book).

Of the many themes, it seems best to state first that is a film about rape, the film opening with a brief sequence, made all the more telling because of the camera most of the time focused on the pet cat, but later shown in more graphic detail, and even a sequence where Isabelle Huppert as Michelle imagines her violently vanquishing the masked man assaulting her.

This means that Elle is the kind of film that Pope John Paul II wrote of: ‘…even when they explore the darkest depths of the soul or the most unsettling aspects of evil, artists give voice in a way to the universal desire for redemption.’ (John Paul II, Letter to Artists, 1999.)

This is also a film where audience sympathies for each of the characters can veer sharply from sympathy to antipathy. This is especially the case with Michelle herself, victim of the rape but then shown in her workplace, manager of a company which produces violent and sexually aggressive computer games, urging her team to make them even more vividly confronting. She has a son, rather ineffectual but devoted to his pregnant girlfriend whom Michelle disdains, but trying her best to help her son. She has a friendly but often vindictive relationship with her ex-husband.

Perhaps the most sympathetic character in the film is her partner, Anne, a friend since each gave birth to their children at the same time, but unaware that her callow husband is having an affair with Michelle.

And then there is Michelle’s mother, even having Botox treatment which makes her look grotesque in her 70s, with her toyboy and her intending to get married again. More traumatising is the character of Michelle’s father, whom we know was something of a monster and is in jail, the extent of the horror of his crimes and Michelle’s presence as a young child at the time is revealed later. Michelle, as we eventually see, has some propensity for violent sexuality.

Redemption doesn’t seem to be at the fore in this screenplay, although it must be said that Pope Francis makes two appearances via television news, once as he is celebrating Christmas midnight mass in the Vatican, something that the young devout neighbour, who has set up her own large crib at her house, wants to view; and a glimpse of him going to Compostella, participating in the Camino, a sign of some astonishment to Michelle’s son who sees the Pope as an august figure and cannot imagine him with his shoes off… An interesting use of a moral reference in the film.

There does seem to be some kind of peacemaking with a number of the characters, although Michelle does get a last, unexpected, revenge on her father, as well as a grim revenge on her assailant.

This is a strong film, some intense drama with comic moments, but one which asks for a great deal of reflection about good and evil, right and wrong, morality, immorality and amorality.

1. The title, the focus on Michelle, female, her point of view, the writer and the director and their male point of view?

2. The reputation of the director, controversy and challenge? Sexual and psychological issues? The strong cast, especially Isabelle Huppert?

3. The French city and its setting, homes, workplaces, socials, fast food outlets? A contemporary feel?

4. Ambiguous characters, situations, moral, immoral, amoral?

5. Rape as a theme, assault and power, male over female, the attack, the victim, suffering, sadomasochistic aspects?

6. The opening, introduction to Michelle, the masked man and his attack, the focus on the cat watching, the glimpse of the brutality, Michelle, the blood, cleaning herself, cleaning up the broken crockery? Going to the doctor and being commonsensed? But not going to the police? The past and her antipathy towards the police?

7. Audience sympathy for Michelle in this situation? Her going to work, her relationship with Anne, the team, her being boss of the company, the videogames, the violence and sexual aggression? Audiences challenged in their sympathy for Michelle? The plans, the program, Kurt’s disagreement, Kevin and his support? Her wanting the game to be intensified? Consideration of the target audience, making money? Audience response to the nature of computer games, the impact, the players and the effect on them? Violence? Sexual aggression?

8. Vincent, his visit, issues of money, his relations with Josie, her pregnancy, the photos, Michelle’s comment on Josie’s mental condition? The issue of the apartment, covering the rent? His job at Quick? Love for Josie, his work, support of Josie?

9. Josie, various boyfriends? The tattoo of Eric? Pregnant, Vincent and his promises, her being demanding? The drama of the birth, in hospital, the parents present, the colour of the baby, the father, the various reactions? Vincent and his absolute devotion? Eric present?

10. Michelle and Richard, the marriage, separation, the relationship to Vincent? Michelle crashing Richard’s fender? The dinner, her telling the group about her ordeal, the various reactions? Urging her to go to the police? Richard as a writer, his relationship with Helene, the yoga instructor, Michelle going to her workplace, the meeting, inviting her to dinner at home, the toothpick in the food, the discovery that she had made a mistake about Richard’s book, the breakup? Michelle having pity on Richard, as a writer, his idea for a game, finally setting him up with Kurt to give him some temporary occupation?

11. Michelle, receiving the texts from the assailant? Changing the locks? Her fear? Rebecca and Patrick across the street, friendship? Patrick saying he had chased the assailant? The invitation to dinner, Michelle flirting with Patrick under the table? The storm, his return to close the shutters, touching Michelle? Leaving?

12. Patrick and Rebecca, a happy couple, neighbours, helping, the invitation? Rebecca and her faith, the statues for the crib and setting it up? At the dinner? Wanting to look at the television, the papal mass? Her faith, her absences from home, the effect on Patrick? The final words with Michelle and her indicating that she understood Patrick and thanked Michelle for her support?

13. Patrick, as a banker, neighbour, the dinner, closing the shutters, Michelle and Vincent going home, the drinking, going down into the basement, Patrick and his attack, the sadomasochistic behaviour? Michelle, her agreement and pleasure? The relationship? Coming back with Patrick, the mask, the further attack, Vincent arriving, hitting Patrick, his death? Michelle’s revenge?

14. Michelle is mother, age, the Botox, trying to be glamorous? The toy boy, Ralf? His presence, Michelle’s reaction to him? Threatening her mother if she announced her engagement? The issue of her father, her mother urging Michelle to visit him in prison? Coming to the dinner, the announcement of the proposal, her collapse, hospital, coma, the funeral?

15. Michelle’s father, her hatred, never visiting him in prison, her mother’s suggestion? The television and the explanation of the case, his brutality, the picture of her as a little girl, audience assuming that she participated in the killings? Her telling Patrick the story? The decision to visit, finding that her father had hanged himself, the glimpses on television at him having his parole refused? The prison authorities, the time of his hanging – and Michelle looking at his body and assuring him that she had killed him and got her revenge?

16. Vincent, the break with Josie, seeming hopeless, giving up his job, Michelle giving him the job to organise the reception, the success of the event, the videogame as a hit, finance? His following his mother, hitting Patrick? And reunited with Josie?

17. Michelle, the mock video game, her suspicions of Kurt antagonistic towards her, asking Kevin to spy, promising him money, her looking at his computer, finding that he had created the video – and refusing the payment?

18. The significance and symbolism of the scenes with the Pope, midnight mass, his going to walk the Camino, Vincent’s comment on his dignity, imagining him barefooted?

19. Anne, a good woman, her friend, her husband, his relationship with Michelle? Michelle telling and the truth, and anger, ousting Robert?

20. The final sense of friendship, Michelle calmer, reconciled with Anne, some good coming out of all the conflicts and ambiguity?

YELLOW FLOWERS ON THE GREEN GRASS

Vietnam, 2015, 103 minutes, Colour.
Khang Trong, Thinh Vinh.
Directed by Victor Vu.

A Vietnamese film with great charm as well as seriousness.

It is set in the late 1980s, over a decade after the fall of Saigon and before the current modernisation. The location is a small village, in attractive countryside, the opening credits having great vistas from the air of the land and the sea.

It is the story of two brothers, one aged twelve, the other seven, devoted to each other, yet with a friendly rivalry – although the older brother has a touch of envy for his younger brother’s strength of personality. We glimpse their parents as well as a local uncle who gets the younger boy to be his messenger to woo a local girl, the son of the schoolteacher. There is also a young girl with whom the older boy is infatuated but who is equally at home with the younger brother – which leads to a touch of viciousness on the part of the older brother, an injury to the young boy, the parents having to sell their cow, but the young boy somewhat miraculously helped in his recovery because of a fable about a tiger and a princess in the forest.

For film for universal audiences.

1. A Vietnamese story? Idyllic? Family? Siblings? Life in the village?

2. The location photography, the opening credits, the details of landscapes, sea, crops? Jungle? The village? The homes and interiors? The musical score?

3. The setting in the 1980s, a memory with the touch of nostalgia?

4. The story of two brothers, twelve and seven, the relationship, love for each other, respect, the older boy and his dominance, yet in some ways reticent, the younger boy and his strong character? The details of their life, the fights, the reconciliation, throwing stones at the wounds, fake surrender? The older boy and his studies? The younger boy and his books? With their parents, with the uncle? Their prospects in life?

5. At school, the boys, the other children – and some bullying, the fights, the younger boy and the knife, in reality nail clippers? The brothers supporting each other?

6. Moon, her mother, the story of the father in the shed, leprosy, the burning down of the shed, the mother going to the city, the diagnosis that it was not leprosy? The mother coming back and taking Moon to a new future?

7. The younger boy, taking messages to Vinh, the meetings with the uncle? The romance? Her father, the schoolteacher?

8. The older boy, the infatuation with Moon, the younger brother getting on well with her, with the frog, going fishing, the younger boy catching the fish, the older boy and his growing jealousy? His sulking? His letting the man take his brothers frog? His brother upset? His overhearing the talk about the meal and the chicken, his hitting his brother, the fact that they were playing, the injury to his brother, the acupuncture, the need for the doctor, the younger boy saying he fell from the tree, his father’s reaction? Their having to sell the cow and other goods? The older boy and his diligent care for his brother?

9. The mystical aspect, the story of the Princess, the Tiger, the threats? The older boy and his wariness of the magic tree? Glimpses? The younger boy and his believing the story, wanting the Princess?

10. The younger boy and his recovery, talking about the Princess? His getting up, moving? The older boy and the discovery of the circus man, the story of the riding act, the little girl the flower, the accident, withdrawing to the woods? The old man confiding his story? The condition of his younger daughter – a princess?

11. A glimpse of life in rural Vietnam in the 1980s, after the war, before the modernisation?

THE AFFAIR OF THE NECKLACE


US, 2002,118 minutes, Colour.
Hillary Swank, Jonathan Pryce, Simon Baker, Christopher Walken, Adrien Brody, Brian Cox, Joely Richardson, Hayden Panettiere.
Directed by Charles Shyer.

For some reason before I knew anything about this film, the title brought to mind books by Baronness Orczy and France in the 18th century. And so it turned out to be. It's not the greatest of historical dramas. Rather, it belongs to what now seems an old-fashioned genre, the historical costume melodrama from the days of James Mason and Margaret Lockwood, Stewart Granger and Phyllis Calvert.

The comparison reminds us just how vigorous but sometimes absurd these flamboyant entertainments were. We did not really expect to learn any history, but we were plunged into the atmosphere of those times. If this is what we can expect from The Affair of the Necklace, then it is an entertaining tale. If we expect solemn history, that is not what it is offering.

It purports to be based on actual events, but like Marie Antoinette's handkerchief, which plays a significant role at one stage of the plot, it has been beautifully embroidered. Plot is the right word. What we see is a plot that is claimed to be one of the major factors in the French Revolution and the fall from grace of the Queen and her execution.

First of all, the sets, decor and costumes are lavish. Some of the exteriors of palaces were shot in France. After all, most of the action takes place at Versailles. However, most of the buildings and cobbled streets were filmed in Prague. There is plenty to satisfy the eye.

As regards the story, it is intriguing enough because it is a tale of intrigue. An impoverished noblewoman, Jeanne de Valois, with the help of a court gigolo and her profligate husband, persuade the Cardinal of France that he will return to the patronage of Maria Antoinette, who loathes him, will become Prime Minister and that he should guarantee the price of a fabulous necklace for the Queen.
The fraud both succeeds and fails.

Part of the film's failure is its taking itself too seriously most of the time when a little more levity is called for. The dialogue is too often that stilted rhetorical history-speak that is easy to parody. And the dialogue coaches needed to do a bit more work on the varied accents of the Americans in the cast.

Perhaps the main trouble is the casting of Hilary Swank who was so marvellous in her Oscar-winning performance in Boys Don't Cry. She is a strong but somewhat stolid presence. She makes us believe in her plot but she is not an alluring leading lady who can combine charm and shewdness like, for instance, Cate Blanchett. Joely Richardson is often more interesting as Marie Antoinette. However, Simon Baker is good as her charming courtier ally and Jonathan Pryce makes an irredeemable rakish, greedy, ambitious and superstitious Cardinal. Christopher Walken is the charlatan Cagliostro.

Brian Cox as the chief adviser, quietly sinister, does the voiceover commentary, pushing the plot along and making moral comments on Jeanne and her motives and the achieving of her deception and fraud.

Lavish, interesting but not compelling.

1. An 18th-century French adventure? Pre- Revolution? Of historical interest?

2. The re-creation of the period? Costumes, decor, locations, the world of the aristocracy, palaces and interiors, lavish style? The church and ecclesiastical background? Poorer and ordinary situations? The musical score?

3. Jeanne’s story, her life as an orphan, title, home, losing everything? Growing up, her bitterness, the plan for revenge? The relationship with Marie Antoinette? The clash? Her marriage to Nicholas, his personality, his place at court, double-dealing? Her relationship with Retaux, his life, gigolo? The getting together? Plot?

4. The design and creating of the necklace? Cost? Louis XV, commissioning it for his mistress, the decision to sell it? Approaching Marie Antoinette? Her refusal, the background story of its creation?

5. The Cardinal, an 18th-century ecclesiastic, his rank, his personality, his desire to be Prime Minister? His worldly nature? His consulting Cagliostro? The plot for the Cardinal to buy the necklace, the secrecy? Retaux as the agent? Nicholas as the seller? Jeanne recovering it?

6. The Cardinal and his panic, the invitation, the king and his advisers?, Trial, the accomplices? Not guilty?

7. Jeanne, the reverse of her fortune? The execution of Marie Antoinette? Jeanne at her going to England, her death and the violence? Suspicion that she was murdered?

JACK TAYLOR: CROSS

Island, 2016, 100 minutes, Colour.
Iain Glenn, Siobhan O' Kelly, Jack Monaghan, Elva Trill, Ross Mc Kinney.
Directed by Stuart Orme.

2016 saw three more television films featuring Iain Glen as Jack Taylor.

In this film, he’s got much older, more grizzled, but less angry. He has received a bequest and now has a studio where he does woodwork. He is approached by a friend in the police force to investigate a murder, a crucifixion. He hesitates but finally follows through.

The investigation leads him to the family of the dead man and the dead man’s involvement in drug deals – but more information about his brother, Rory, who had been accused of manslaughter in a car accident but had disappeared prior to the trial. It is now three years later. The early part of the film focuses on the two brothers and their parents.

Taylor meets a cousin of the police officer, Darragh who has spent some years in jail for drug deals but has got a degree and has become absorbed in Confucius and his philosophy, full of quotes and ideas. He gets paid by Taylor to observe people going to the dead man’s funeral. He later encounters the daughter of the dead woman in the accident and gets close to her, a sexual relationship, to further his investigation.

It is the family of the dead woman the film focuses on as well, especially the angry daughter who has visions of her mother, blames her father and causes his death by not providing him with tablets. Her brother is the angry one responsible for the crucifixion.

In a humorous encounter with his friend, Father Malachy, Taylor realises what happened during the accident and confronts Rory’s girlfriend.

The dead woman’s daughter is bent on revenge and confronts Rory’s parents – saved by Taylor’s intervention.

Standard material but Iain Glen is always interesting.

1. The popularity of the Jack Taylor series? Investigations? The role of the police, ex-police? The mysteries? The Galway setting? The town, homes, the streets? The musical score?

2. The title, the focus, the image of the crucifixion, the second crucifixion?

3. The introduction to Taylor, his age, semi-retired, the bequest, his studio, the woodwork? A touch grizzled? Less angry than in previous stories?

4. Kate, her police role, the particular case, and not handling it, feminist issues? Giving the information to Taylor? Giving him the option? His decision to follow-up?

5. The explanation about John, as a student, drugs, his mother devoted to him, telling the story, the father in his chair, angry at Taylor, getting him to go out? The story about Rory, the accident, his failing the court case, his disappearance?

6. The mother killed in the accident, Gail and her anger, having visions of her mother? Sean, his anger, violence, the hammer – as being responsible for John’s death? The father, his bitterness? Gail and her anger with him? His having to restrain Sean? A family consumed by revenge?

7. Taylor, going to see Kate, the news of her breast lump, the diagnosis?

8. Darragh, his exercises, his time in prison, study, degree, absorbed in the philosophy of Confucius, quoting him talking with Taylor, suggesting he help with the investigation, exchange of money, a secret from Kate? Going to the funeral, texting that he didn’t see Rory? His continuing the investigation, the chance encounter with Gail, her seeing her mother across the street and stepping into the traffic, his saving her? The cup of tea together? Later meeting her, the sexual encounter, the effect on her? His investigations, going to the attic? Her leaving, return, her anger with him? Sean and his return, accusing her of killing their father? Her stabbing him? Tying up Darragh?

9. The background of her bitterness, memories of her mother, her father’s illness, her defying him, refusing him pills? His death?

10. Taylor and his encounter with Father Malachy, jokes about his size, the realisation about the photo of the car?

11. Taylor and his getting the homeless men around the town to search for Rory?

12. The story of Rory, his relationship with his girlfriend, the child, his disappearance, forfeiting the court case? For his girlfriend to have her own life and career? Her marriage? Rory’s return at the death of his brother, their talk, the news of his crucifixion? Taylor realising what happened confronting the girlfriend, admitting her responsibility and Rory letting her have a life?

13. The explanations of the crucifixion, going to Rory’s girlfriend, her husband, the accusation, his denials, admitting the truth?

14. Darragh, the phone call, Kate rescuing him? And punching both him and Taylor? Her later relenting, kissing Taylor – the possibilities about his illness?

15. Gail, going to the family, confronting them, turning on the gas, the visions of her mother, Taylor intervening, telling her the truth, Rory’s girlfriend
confirming the truth?

16. The solving the case, the intricacies?

DOCTOR STRANGE

US, 2016 115 minutes, Colour.
Benedict Cumberbatch, Chiwitel Ejiofor, Tilda Swinton, Mads Mikkelsen, Rachel Mc Adams, Benedict Wong, Michael Stuhlbarg, Benjamin Bratt, Scott Adkins.
Directed by Scott Derrickson.

Phantasmagoria.

Does every film reviewer have a yen for using the word Phantasmagoria at least once in a lifetime? Well, Doctor Strange certainly offers the opportunity. In visual style, special effects, in complex plotline, it certainly is a phantasmagoria.

We are in the Marvel World, and audiences have relished being in that cinematic and comic book world of the Avengers, singly and in combating people together. Dr Strange is now newly introduced but, for those who wait during the final credits, there is not only a trailer for forthcoming events but two trailers (in the first doctor Strange is sitting down and having a conversation with Thor!)

Audiences have plunged into this exotic and fantastic world right from the beginning of the film, scenes of combat in London between the ferocious villain, Kaecilius (Mads Nicholson) and The Ancient One, an androgynous guru figure with an impeccable British accent (Tilda Swinton). While the battle is powerful, it is the special effects that begin to boggle the mind. Buildings begin to fold in on themselves, sweeping vistas of the city begin to fold in on themselves, activities go upside down and sideways, intriguing the imagination. and, thankfully, there is more, when some of the action goes to New York City, the folding and in-folding continues and, we avoid any disappointment when the final action transfers to Hong Kong and then we have it again.

Then we are introduced to the supremely arrogant surgeon, Dr Stephen Strange, with more than a touch of the obsessive in his knowledge of popular music, tapping his feet as he does intricate operations, absolutely confident in his abilities and prowess. As everybody knows, he is played by Benedict Cumberbatch as something of a distant relation to Sherlock but with more openness, eventually, to versatility in action.

One of the things about this Marvel hero is that initially, he is not part of the world of superhero powers with mystical and mysterious origins. That comes later. In matter-of-fact terms, he is severely injured in a car accident, with great detriment to his hands, impatient in physiotherapy, informed about somebody who was able to transcend injuries (Benjamin Bratt) and is advised to travel to Nepal, to a monastery with Buddhist overtones where he is invited to submit himself to experiences of discipline, asceticism, self-abnegation. This is not an easy call for Dr Strange and we follow his training under the instruction of The Ancient One, her assistant Mordo (Chiwitel Ejiofor) and some comic touches from the librarian (Benedict Wong).

It is here that the audience is drawn, as with Dr Strange himself, into a world of time and times, doors into other worlds, parallel universes… and an overall demonic universe controller.

And, it is here we learn that Kaecilius is a renegade from this world, with a power complex, wanting to dominate his world and every world, taking a discipleship of thugs with him. It is inevitable that there will be a showdown, or showdowns between Dr Strange and Kaecilius. Which leads to the confrontations in New York in New York and in Hong Kong. (There is another medical interlude after Stephen Strange’s injured and he goes back to get the help of his former love, also a surgeon, played by Rachel Mc Adams).

The upshot of the confrontations is not quite what we expected either in terms of The Ancient One, Dr Strange’s Groundhog Day battle of wits with the demonic, or in terms of Mordo and his experience with Dr Strange – which leads us into the post-credits previews and the news that “Dr Strange will return�.

1. The Marvel universe? Success in comics? Success in films?

2. The title, expectations, the comic world, the real world, the ordinary world – transcended? The accident, the self-searching? The different range of worlds and times?

3. The London locations, the streets? New York, ordinary, the hospital, streets, the mansion? Hong Kong, the markets and locations? The musical score?

4. The impact of the special effects, the touch of magic, the folding and in-folding of the buildings, the cities? Interiors? The doors to other worlds? Nepal as the centre, the monastery, Everest? Time travel? Astral experiences? The battles and confrontations?

5. Good versus evil? Heroes, super-heroes? Villains? The call to heroism, learning, self-surrender?

6. Eastern concepts, Buddhism? The self, the ego? Self-surrender? The role of the teachers? The Guru? The programs, the tutors, the powers, the exercise of powers, flying? Transcendence, asceticism, abnegation?

7. The introduction to the film, the Ancient One, played by Tilda Swinton, the presence, her appearance, bald, thin and ascetical? Accent? Her powers, initially veiled, in the city? Kaecilius? Appearance, his face, eyes, his cohort? The attack, vivid, the folding and in-folding? Setting the tone? The touch of the weird?

8. Doctor Strange, his name, personality, played by Benedict Cumberbatch? Touch of obsession, even autism? Knowledge of music, tapping his feet, the operations, his assistants, his relationship with Christine, the past, in the hospital? The break? The assistant doctor, his diagnosis, Strange, his diagnosis, the bullet, running the risks, his success?

9. In himself, arrogant, driving, speeding, going to the conference, the accident, the effect, the destruction of his hands? His impatience in rehabilitation? Christine and her support? The report about the man who survived and transcended his injuries? Going to visit, the information?

10. The decision to go to Nepal, the atmosphere, Mordo and his welcome, guide? The Ancient One? The stories, the nature of time, of existence, the librarian and the humour? The issues of good, evil? The dark presence in the universe? Kaecilius and his group leaving?

11. The detail of the training, difficulties, Strange and his failing, having to overcome himself, discovering the powers, his ability to change reality? Becoming quicker, the exercise in powers, the effects? The response of the Ancient One? Mordo?

12. The challenge, going to New York, the detail of the mansion, the streets? Confrontation with Kaecililus? Success, failure, his being stabbed? Becoming more introspective? Going to the hospital, getting Christine to help? The associate of Kaecilius, in the hospital, his apparitions, the astral selves?

13. The Ancient One, sage, timeless, the accusation of her getting help from the Dark, a motivations? The attack, her death?

14. The librarian, his character,, touches, assisting?

15. Hong Kong, Kaecilius wanting the power, the confrontation, the fights, the exercises of particular powers, the freezing of the population in
time? Strange and his going beyond, the confronting of the Evil One, the bargaining, the Groundhog her effect, wearing down the Evil One? Strange prepared to sacrifice himself for others? The world returning to normal? The destruction, Kaecilius defeated?

16. The future, Mordo losing faith, confronting Strange, leaving?

17. The effect of the trailers, the discussion with or and conquering evil in the universe? Mordo and the future?