A L’INTERIUR/ INSIDE

France, 2007, 82 minutes, Colour.
Alysson Paradis, Beatrice Dalle.
Directed by Julien Maury, Alexandre Bustillo.

Inside is a French horror film, produced by the Weinstein Brothers’ Dimension company, but labelled “Extreme�. The subject is motherhood, pregnancy, jealousy, revenge.

The film starts with a credible situation, a pregnant woman in a car crash, her husband dying in the crash. The film moves forward some months with the pregnant woman going to see the doctor and her being reassured that she will be able to give birth to the child.

The film introduces the young woman’s mother who fusses about her daughter with her daughter sending her away. She books a sympathetic friend/ editot to drive her to the hospital the next morning.

Most of the action takes place during the night, with a mysterious woman appearing at the house, at the window, the pregnant woman taking many photos of her (she is a professional photographer). She also calls the police who come but can’t find any trace of the woman.

Then the films becomes rather ugly with the woman menacing the pregnant mother, the woman looking particularly sinister in long dress and played by the Betty Blue star, Beatrice Dalle. There is a great deal of blood as the sinister woman attacks the pregnant mother, knives, stabbings and slashings, the pregnant woman hiding herself in the bathroom, continue to menace.

There are several killings, including the police, her mother, as well as the editor who comes to see the mother, anxious because of a phone call.

Ultimately, there is a confrontation, and, with knives, a caesarean birth – which will lead…?

Not the kind of film that any pregnant mother would like to see during her pregnancy – and fathers expecting children may not like to see it either. It is the stuff of nightmares.

It is skilfully made in its horror vein, and was the recipient of several horror awards.

TALE OF TALES

Italy, 2016, 133 minutes, Colour.
Salma Hayek, Vincent Cassel, Toby Jones, John C.Reiley, Shirley Henderson, Hayley Carmichael, Bebe Cave, Stacey Martin, Christian Lees, Jonah Lees.
Directed by Matteo Garrone.

Tale of Tables is rather exotic filmmaking, all the more surprising because it comes from Matteo Got on a who made such an impact with his Mafia drama, Gomorrah, and followed it up with the effective small film, Reality.

The tales are from a 17th century Italian writer, Giambattista Basile. Audiences will be reminded of Pasolini’s trilogy, especially the Decameron, Boccaccio’s stories, many and interwoven.

Here there are three principal stories, each concerning a King. Interestingly, the film has been made in English with an international cast, Italians in supporting roles.

John C. Reilley portrays a King whose wife, Salma Hayek, wants a child. A seer appears offering a solution but indicating that there has to be a balance in the world and that a new life means a death. The king has to fight a sea beast, take its heart, give it to a virgin to cook and for the Queen to eat the heart – and she instantly becomes pregnant, as does the virgin. But the king dies in the attempt.

Vincent Cassel also appears as a lascivious King and Toby Jones is a King playful with his young daughter.

The film then moves on 16 years, the Queen happy with her adolescent son, albino, but very unhappy with his friendship with the son of the virgin, also albino, the two young men played by the twins Christian and Jonah Lees. The story shows the possessiveness of the Queen, the seer coming again, the Prince running away to search for the son of the virgin.

Vincent Cassel’s king is still lascivious, charmed by a voice, assuming the voice comes from a beautiful young woman but actually comes from an old crone who lives with her sister, decides to deceive the king, sleep with him – but he discovers the truth and commands her to be thrown out of the castle window – she survives. She is transformed into her younger self and marries the king.
The third king listens to his daughter’s song but is more interested in a flea which he catches, helps grow, with it becoming monstrous and then dying. His daughter wants to leave the palace, to marry, the king decides to hold a competition where suitors will guess the origin of the hide on display – with the big and threatening giant getting the correct answer and taking away the Princess.

Perhaps for an Italian audience, the film will be entertaining and interesting, but it is probably not to the taste of many audiences worldwide.

1. Exotic Italian storytelling? The origin of the stories in the 17th century? The touches of Boccaccio? Film tradition, the touches of Pasolini?

2. The colour photography and style, costumes and decor, realistic and stylised? The countryside, the castles, the hovels, the streets? The interiors, palaces, homes? The musical score?

3. The intertwining of stories? The interlinking?

4. The story of the queen wanting to have a child? The circus performance and buffoonery, the king amused, the Queen not amused, the joke about pregnancy, her leaving the circus, the apology of the King?

5. The tall seer? Appearance, clothes, interpretation of the future, the command to the Queen, to kill the sea beast, to take its heart, boil it, the role of the virgin, eat the heart, instant pregnancy? The balance of the universe, a birth and death? The King, donning the underwater gear, the underwater photography, his fighting the monster, killing it, his own injuries? His death? The pomp of the funeral after the birth of the child? Cutting out the heart, the virgin chosen to cook it, her own pregnancy, the Queen eating the heart, her pregnancy, the birth of the child? Her happiness? The funeral?

6. The story of the lascivious King, in the coach, his women, the procession?

7. The third story, the king, in the coach, playing with his daughter?

8. 16 years later: the Queen, the possessiveness with her son, the virgin’s son, looking alike, the twins playing the boys, the Queen forbidding their playing together, the sequence of her being lost in the maze and their getting over the wall, the Queen demanding an apology from her son? Overhearing him talk about the other boy deceiving the Queen about identity? Their plans, becoming king, taking it in turns, the whims? The virgin’s son running away, the grief of the Prince, his going in pursuit? The Queen searching? The second visit of the seer? Balance and loss? Underground, the abattoir atmosphere? The virgin’s son, being well received, a future? His injury, the Prince rescuing him? The future for the Prince?

9. The story of the lascivious King, the two old crones, his hearing the voice, his assumption about beauty, courting, knocking at the door, the reaction of the two old women, one flattered, the other anxious? The plan, offering the finger? The pursuit by the King, the sisters and their plan, the breasts, deceiving the King, going to the palace, the king discovering the truth, having the old woman thrown out the window, the cloth stranded in the tree, the old crone, reviving the old woman and her becoming young and beautiful? Married to the king? Her sister in attendance?

10. The King with his daughter, her growing up, composing the song for her father, his preoccupation with the flea, keeping it, in his room, attending it, it growing to monstrous proportions? Illness, the doctor, the death of the flea? Daughter wanting to leave the palace? Wanting to marry? Her father promising to choose a husband? The hide of the flea, the various suitors, their failing the guess as to what the animal was with the hide? The giant man, the correct guess, taking the Princess, in the cave, her unhappiness, escape? The return to rule the country?

11. The background, the circus performers, people in the street, the atmosphere of the kingdom?

12. The final credits and the vast tapestry with all the characters?

RED DOG, TRUE BLUE

Australia, 2016, 92 minutes, Colour.
Levi Miller, Bryan Brown, Jason Isaacs, Hanna Mangan Lawrence, Thomas Cocquerel, Justine Clarke, Steve Le Marquand.
Directed by Kriv Stenders.

After the immediate success and popularity of the initial Red Dog, it was, perhaps, inevitable that that would be a sequel. In fact, story -wise, it is a prequel.

Somebody asked whether this film was as cute as the original, cute in a good sense, pleasing, attractive, engaging. Well, it is.

The director is again Kriv Stenders who was able to bring the first dog story to life, a story of Western Australia and the Pilbara, a mixture of fact, reminiscence and legend.

So, how to create a credible prequel? One of the bright ideas is to show a busy father in Perth expected to take his son out to a movie – and they go to see Red Dog. The son would love to have a dog but his father is adamant – although, his son sees his father’s eyes moistening as he watches the film. When they go home, the father reveals that red dog was actually his. And so, the bulk of the film is a flashback to his childhood, returning to the father and his storytelling every so often, and audiences then understanding why it was at the beginning of the original film that Red Dog was wandering North.

The story of the young lad, Mick, has everything going for it. Young boys (and girls) can identify with him and his experience of finding the dog, covered in dirt and so called Blue but, when washed, he is red. The boy has to move up to a farm in the Pilbara because of his mother being hospitalised. He goes to live with his mother’s father, a fairly straight up and down man, especially so as he is played by Bryan Brown, an actor who can deliver any line in a very Australian way without it sounding like script. He is one of the most natural of our Australian actors and has some good opportunities here, sometimes being crusty and authoritative, sometimes being softer-hearted.

And, with the film set around 1970, who is one of Grandpa’s great friends who visits the house, shares a meal, and plays banjo with Grandpa – a friend who predicts that the future of the Pilbara will be in iron, none other than Laing Hancock (played by John Jarratt).

Mick and Blue range around the property, even discovering a cave with aboriginal paintings and a special stone which one of the hands on the property explains should not be taken because it is sacred. Later, Mick, jealous of one of the workers because of his attraction to his tutor, the young woman, Betty (Hanna Mangan Lawrence), takes the stone and interprets all the havoc that ensues, storms, bushfires threatening the property, as a consequence of his actions.

As well as the reminder of the mining of iron in the Pilbara, there are references to Saigon and the Vietnam war, the singing of songs of the period, a Chinese cook with an umbrella, quite a number of aboriginal characters (and the final credits pay tribute to aboriginal collaboration with the film), and two of the hands, Big John and Little John thought of as close brothers when they are not. These are points for the adult audience.

In the meantime, the younger audiences will be identifying with Mick and all his adventures, happy to be in the company of Blue, and, at the end, coming to realise how it was that Mick had to go back to his father and Blue went on the road to become Red Dog.

And, there is a new very younger generation who will want to see this film since the original was released. Good Australian storytelling.

1. The impact of the original film? The dog, humans, Western Australia, the Pilbara? Audience anticipation for another film?

2. The film is a prequel, the story of red dog, as True Blue – and the personal story?

3. The opening of the film, the dog, wandering, found, companionship, in nature, skills, the bonding and action?

4. The Western Australian locations, Perth, the cinema? the open spaces, the homestead, the mountains, the roads? The musical score?

5. The cast, the Australian tone? The home audiences? Overseas?

6. The popularity of dog stories, the children, for adults, children and dog stories?

7. Perth, the idea of the prequel? The father, son, wife? Hard work, going out, the boy wanting a dog? Going to the film? Seeing Red Dog, the father crying, the son noticing it? Going home, the issue of the dog, the father’s feelings? The boy in bed? The father deciding to tell the story – and this scene recurring throughout the film?

8. The story, Mick and his parents, his mother in the institution, going to live with his grandpa, arriving, the open plain, the horse pursuing him? The house, his room? The cook and his umbrella? The same meals each day? The workers, the aborigines, the cook, the woman doing the washing?

9. Grandpa, his property, cattle, a staunch Australian, his way of life? His bond with his daughter, his grandson? At the meal table, the same meals, the conversation?

10. Mick, his age, experience, willing to learn, finding the dog, washing it, the name, the dog not to be in the house, in bed with Mick, the grandpa letting it be?

11. The range of adventures, shared, the bond, lively, finding the cave, the stone?

12. The workers, Big John and Little John and their relationship? The young man singing, Blue barking while he sang, his serving in Vietnam? The aboriginal lad, the warning about the
stone in the cave?

13. The need for education, Betty coming, young, Mick and his infatuation, the lessons, her story and hopes? The young man singing, at the meal, Blue barking? At the gathering, Mick and his jealousy? The young couple kissing?

14. The visit of Laing Hancock, playing the banjo with grandpa? His discussion about the future of the Pilbara and iron?

15. Mick, deciding to get the stone, pointing at the horse, the horse hit by lightning? Pointing it at the young man? The range of disasters, the storm, his running away with Blue, the bushfires and his return, fighting the fire?

16. Betty leaving?

17. Going back into the cave, throwing the stone back, the darkness, Blue leading Mick out?

18. The taunt about his mother, apologies? His having to leave, go to be with his mother? The farewell?

19. Leaving Blue behind – Blue wandering, the story being told, and his transformation into a Red Dog?

THE EDGE OF SEVENTEEN

US, 2016, 104 minutes, Colour.
Hailee Steinfeld, Haley Lu Richardson, Blake Jenner, Kyra Sedgwick, Woody Harrelson, Hayden Szeto, Alexander Calvert, Eric Keenleyside.
Directed by Kelly Fremon Craig.

There is an edge in using the word “edge� in the title of this film. Nadine, the central character, is approaching 17 with all the problems of adolescence, self-image, self-deprecation, touches of narcissism, experiences of depression, sexual talk and inexperience and the potential for shock. But this also indicates the meaning of “edge� in Nadine’s character and how she lives her life – she says she looks out from above on herself and does not like what she sees and realises that she will have to spend the rest of her life with herself. And, she over-dramatises with suicide notes.

One of the difficulties in responding to the film is that it has quite a lot of comic touches, even satiric touches in its portrayal of Nadine’s character. On the other hand, the film really serves as a case study, and that makes it very serious in its implications.

Haille Steinfeld is Nadine.She bursts into her teacher’s office threatening suicide and then starts to tell the story, in flashbacks, of how she arrived at this desperate stage. As a seven-year-old little girl she is bullied at school and continues to compare herself with her always-confident and successful older brother, Darian (Blake Jenner). Fortunately, another little girl befriends her through a caterpillar and they become strong friends for the next 10 years. There are glimpses of the girls at 13 – everything much the same.

While Darian continues to be a success in life, their mother, Kyra Sedgwick, spends a lot of her energy in being frantic, finding it very difficult to cope with the problematic Nadine. On the other hand, Nadine relates very well with her kindly father but he suffers a turn and dies.

By 17, Nadine is able to confide only in Christa (Haley Lu Richardson) who finds herself attracted to Darian – extreme crisis, Nadine thinking only of herself, demanding an either/or decision from Christa and then indulging in sulking and surliness. There are more scenes with her mother who still finds it difficult to manage her daughter, comparisons with her brother and the disdain for Christa.

The main port of call is the teacher who is given the best lines in the film, sardonically funny yet sardonically wise in his ability to deal with this problematic girl. He is played by Woody Harrelson at his best.

Nadine certainly makes some stupid decisions, underestimating the nice student who sits next to her in class but he proves to be something of her salvation. She feels attracted to a hunky student, almost propositions him at his workplace and then sends him at outlandish text. Following it up almost proves her undoing though, rather ignorant, she gets out of the situation, finding herself desperate.

It is a surprise to find some bloggers referring to Nadine as “endearing�. Nadine is hardly endearing and one is tempted to give up on her so self-preoccupied is she, but there is always the sympathy for mental health and depression.

Thank goodness, the ending is not without hope!

1. A film for and about adolescents? A film for adolescent girls, about adolescent girls?

2. The film is an entertainment and/or a psychological case study?

3. The response of the target audience? The young audience, friends and siblings? The impact of the film for parents, teachers, counsellors?

4. The American setting, the city, homes, school, the mansion, the film festival? The feel of the city? The musical score?

5. Nadine, praise for Hailee Steinfeld’s? At 13? At 17? How persuasive? The introduction to her character, bursting in on the teacher, talk about her suicide note (and his casual commentary with his own alleged suicide letter!)? Nadine’s voiceover, going back to age 7, her being bullied at school, Christa and the caterpillar and the bonding, the sharing, their becoming friends for years? Her comments about her older brother and his instant success and confidence? The relationship with her parents, her frantic mother trying to get her out of the car, pulling her out, tantrums? Happy in her father’s company, singing the Billy Joel song? His affirmation of her? The suddenness of his seizure, the accident and his death? Her grief? Nadine at 13, the same, sharing with Christa, critical of her brother? Woody Harrelson as the teacher, his ironic humour, his classes, lunch hour, Nadine relying on him, his advice, challenging her, picking her up and saving her, bringing her home, scenes with his wife and child, driving her home, telling her to get out of the car?

6. Audiences engaged by Nadine? Or not? How sympathetic character? The irony and comic touches – and her capacity for irritating people, even the audience? Our sympathy for her because of her mental state, her narcissism, everything revolving around her, her observing herself from outside and not liking herself, having to live with herself for the rest of her life? Her depression, mood swings?

7. The portrait of Nadine’s mother, frantic, loving Darian, problems with Nadine, going away for a weekend and Nadine’s criticism? Nadine refusing to get out of the car, going to work, taking the car keys, discovering Nadine’s untidy rooms, the final text – OK, a wise decision?

8. Christa, the bond between the two girls, Christa with Darian, the sexual encounter, falling in love, Nadine interpreting this as a betrayal, demanding a choice on Christa’s part, the pressure on Christa, helping Darian? His mother ringing, their having to leave the party, Nadine surly towards them, Darian and the untidy rooms, going to pick up Nadine, confronting her, at the teacher’s house, Nadine’s eventual apology, the embrace with Darian, the reconciliation with Christa?

9. Sexual issues, the talking behaviour of the girls, Christa and Darian? Nadine and her flirting, the young men at school, at the pet shop, the outlandish text, his reply, the effort in dressing up to go, leaving the room’s untidy? The meeting, the car, his approach, her resistance? Not really comprehending what was happening?

10. The contrast with Erwin, talking with him in class, while watching the film, the attraction, going to his house, swimming in the pool, seeing his cartoons? A pleasant character? The film competition, her applause, herself as the topic, the friendliness with Irwin in the aftermath?

11. Nadine, a reflection on herself, her being demanding, tantrums, the narcissism, the depression? Realisation and change?

COLLATERAL BEAUTY

US, 2016, 97 minutes, Colour.
Will Smith, Edward Norton, Kate Winslet, Michael Peña, Keira Knightly, Helen Mirren, Jacob Lattimore, Noemie Harris, Ann Dowd.
Directed by David Frankel.

This is a drama of worthy themes, even high-minded themes. This is manifest in the title, particularly high-minded, the focus on beauty. Several times throughout the film there is an explanation of the title: that with suffering and tragedy, something good can emerge, a collateral to the suffering in the experience of a new beauty.

In many ways this is a small drama, a focus on a man who runs an agency, full of enthusiasm, giving pep talks, explaining the significance in marketing and in life with the focus on Love, Time, Death. He is played by Will Smith, initially enthusiastic and inspiring, then, after three years, suffering a deep personal tragedy, the death of his six-year-old daughter from a rare disease, his inability to cope, the repercussions for his wife, divorce.

For the rest of the film, we have a rather morose Howard, sitting alone at home, setting up most elaborate domino patterns in the office and then collapsing them, not communicating with his friends, with the staff, the business going downhill with the need for a sale, he sitting at home, writing letters to Time, to Love, to Death, going out to post them.

His three enthusiastic partners at the agency, Edward Norton as Whit, Kate Winslet as Claire, Michael Peña as Simon, are becoming more and more desperate.

When Amy, Keira Knightly, comes for an audition to the agency and startles Whit with her rearranging of a slogan, he follows her to a theatre where she is in rehearsal, directed by Brigitte, Helen Mirren.

The drama that follows is a challenge to plausibility and the film moves into the realm of special messages, possibly angels, the tradition of It’s a Wonderful Life. In this way, Collateral Beauty is reminiscent of a 2014 New York drama, which includes time travel, also plausibility-challenging, A Winter’s Tail (with Russell Crowe and Colin Farrell). While both films are worthy in theme, other words that will come to mind are fey and twee.

Howard is challenged in a particular way, involving a video and a private detective, Ann Dowd, and Howard encountering representatives of Love, Time, Death in the form of knightly, Mirren and the young Jacob Lattimore.

Also in the picture is Madeline, who oversees a group for parents bereft because of the death of a child. Howard attends, begins to relate very well to Madeline – and you might guess the ending in this regard.

For a small film, the car seems to be over-qualified. The themes are attractive but the whole experience is rather ephemeral – and there is a need for a warning for audiences who automatically baulk at sentiment.

1. The title? Worthy, high-minded? The role of sentiment and feeling?

2. A New York story, the advertising agency, homes, apartments, streets, Upper Manhattan, the theatre, the board rooms, the group meetings? The musical score?

3. The plausibility of the plot, at an ordinary natural level, supernatural level?

4. The strong cast?

5. Howard, Will Smith, his initial pep talk, the focus on Time, Love, Death? Three years passing, his grief, divorce, the death of his daughter, the elaborate domino patterns and his toppling them? Alone? Writing letters to Time, Love, Death, posting them? Grief, the videos of his daughter?

6. The agency, the concern of the executives? Howard’s health, the decline of the business, the need for a sale?

7. The differing personalities: Whit and his being Howard’s best friend, his own personal life, divorce, the private detective, his daughter not wanting anything to do with him? Claire, giving her life to the business, growing older, no children? Simon, his family, his illness, concealing it from his family?

8. Amy coming for the audition, the encounter with Whit, her rearranging the slogan, his following her across the streets, into the theatre, the rehearsal, meeting Brigitte?

9. The idea about the performance? Amy and her becoming Love, hiring Raffi and his becoming Time, Brigette becoming Death? The setting up, Sally, the private detective, her video camera? The mixed feelings about the project, everybody agreeing? The film, the editing, the deleting of the characters leaving Howard talking on the street, in the subway?

10. The execution of the plan, the situations, Amy and her relating well to Howard, the confrontation in the subway, on the street? Sally filming? The nature of the discussions, Howard’s input?

11. Going to the board meeting, the screening of the film, Howard and his reaction? His signing the documents for the sale? Signing the document about his daughter’s death?

12. Howard and his going to the group, meeting Madeline? The revelations, the members of the group, the death of children? The friendship with Madeline – and her talking about the loving message on the day of the divorce, the continued love? The video with the daughter, the photo of mother and daughter?

13. Whit, going to see his daughter, the change in him? Her acceptance? Simon telling his wife about his illness, and her knowing? Claire searching out Raffi, Upper Manhattan, the
money, the talk about her life and the possibility for children?
14. Howard and Madeline, looking back at the three on the bridge, their disappearance – Angels, spiritual powers…?

 

 

 

 

LION

Australia, 2015, 120 minutes, Colour.
Dev Patel, Rooney Mara, David Wenham, Nicole Kidman, Sunny Pawar.
Directed by Garth Davies.

The title causes a question mark right throughout the film. The title of the book on which the film is based is called A Long Journey Home. And we see no lions either in India or in Tasmania! It is only in the last minute that the meaning of the title is revealed and is symbolically satisfying.

The author of the book is Saroo Brierley, who remembers something of his childhood in India, especially his love for his older brother, the love for his mother, out in the fields (and a myriad butterflies), on top of a coal train filling bags with coal to exchange for milk at the market, life at home, and his persuading his brother (after showing him all the things, heavy things, that he could lift) to taking with him to his night work. He is told to wait at the station, dozes off, wakes in fear, goes on to a train and is carried over 1600 km from his home to the busyness of Calcutta.

The film is very moving as we share the plight of a little boy lost, not really comprehending what has happened or what is happening, wandering through crowds, offered a piece of cardboard to sleep on in a subway, going to a shrine, praying but eating the food left in offering. When he is found by a sympathetic woman and taken home and cared for, there is the dreaded realisation that the man she calls in for help is a pimp for paedophiles. Saroo runs away, is collected and put into a boys' home, interrogated by the police but, finally interviewed by a sympathetic official, he has been chosen for adoption in Australia, joining other little adoptees to learn a little English as well as table manners.

This first almost half of the film is well worth seeing. The performance by the little boy, Sunny Pawar, is just right.

As is the rest of the film, the little boy flying to Hobart, meeting his adoptive parents John and Sue Brierley, played sympathetically by David Wenham and Nicole Kidman. Saroo adapts to Australian life, though an adoptee brother finds it very difficult. And then 20 years have passed, Saroo (Dev Patel) truly Australian, going to study in Melbourne, encountering a young American student (Rooney Mara), and finding in discussions with their friends, especially Indian friends, a re-awakening of the story of his past, his longing for his mother and his brother.

As this becomes a preoccupation, then an obsession, he does not cope well, one of the most moving sequences in the film is, courtesy of a fine Nicole Kidman performance, where his mother is in something of an emotional collapse and she explains her life, her experience when young and her longing to help a child less fortunate than an Australian child and that her longing has been fulfilled in him.

Google Earth will be very pleased with the film because it provides an opportunity for him to further explore, to go back to India and, as Saroo says, and so the questions he has always had answered and the holes in his heart are filled.

The central characters all appear as themselves for the final credits including a very moving sequence in India.

The film has been very well received – and pleasing that this is an Australian film.

1. The title, the revelation in the last minute of the film, significance?

2. Based on a true story, the 1980s, into the 21st century? The poor of India, children and families, boys lost, their fate? Adoption, 2007, Tasmania, Hobart, Melbourne? The return to India in 2010?

3. The Indian story: Saroo, the valley, the butterflies, calling to his brother? On the train, the bags, stealing the coal? Going to the market, getting the milk in exchange, bringing it for their mother and sister? Guddu and his work at night, Saroo insisting on coming? His lifting the weights, riding the bike, waiting at the station for Guddu to work, going to sleep, waking, the sense of loss, searching the station, going onto the train and the later revelations and of the irony of goodies accident and death?

4. Saroo on the train, locked in, sleep, the bewilderment for a six-year-old boy, pleading to people to get him out, no response? Arriving in Calcutta, the teeming city, the crowds, the stations, his wandering, going to the shrine, prayer, eating the food? In the subway, the other children, the offer of the cardboard, his going to sleep, the authorities coming, chasing and rounding up the children? His escape? Going to the river, washing, on the bridge, two months passing, wandering the city?

5. The woman, the offer of help, taking him home, food, comfort, the man and the promise, paedophilia, the clients, Saroo and his escape?

6. The police collecting him, his pronunciation of his town, the advertisements in the paper, no responses? In the institution, his photo, the other children, the discipline?

7. The kind official lady, the interview, the arrangement of the adoption, the classes on table manners and vocabulary, the other children? Her promoting Australia?

8. The flight to Australia, the woman accompanying, John and Sue at the airport, the strangeness for the Indian boy in these comfortable surroundings? The parents taking Saroo home, their love, the house, settling in, embrace? The portrait of Sue and John and his persons?

9. One year passing, the brother arriving, his tantrums?

10. 20 years passing, Saroo at home, relating to his parents, the life in Australia, his accent? The troubles with his brother, his visits? His going to Melbourne, the studies of lectures, hotel management?

11. The meeting with Lucy, American, the skipping in the street, the bond between them, dinner with their friends, some from India? Saroo explaining that he was adopted? This awakening his memories, the sense of loss, their variety of suggestions for him to follow?

12. His going to Hobart, Saroo and Lucy together? His preoccupation, the maps, distances from Calcutta, checking the speeds of trains in those days, looking at Google Earth? The effect, greater preoccupation, the worry of his parents, Lucy's worries? The meals at home?

13. The device of intercutting the past, Guddu and his life? Saroo imagining what it might have been like, with his brother, returning to his mother? The emotions?

14. Saroo staying alone, pondering on the beach, in the water? His father coming to urge him to see his brother? The dinner, his insulting his brother and later revisiting and apologising? The character of the brother, angers, drugs, his life?

15. Sue, her emotions, the scene of the talk with Saroo, the story of her breakdown, her vision, the electric shock and recognising the brown boy, Sue and John deciding to have no more children, too many children in the world, but helping the poor? Life fulfilment?

16. Lucy, going to New York, discussions with Sue, trying to reunite with Saroo, his hesitations? Her waiting for his return from India?

17. Saroo in his hut, Google Earth, going beyond the circle, the search, the town, the name and its pronunciation, the water tower?

18. His return to India, the flights, the train ride, the jelebis and his memories with Guddu, in the town, his feeling, asking in the street, the man leading him to the procession, finding his
mother, reunited, with his sister? The sad news of Guddu's death?

19. His communicating back home, saying the questions were answered, the hole in his heart filled, his bond with Sue and Jon, with Lucy?

20. The final information about his name, Sheru and Lion?

21. The final credits, the visuals of Sue going to India and meeting Sheru's mother?

 

LA LA LAND

US, 2016, 124 minutes, Colour.
Ryan Gosling, Emma Stone, J. K. Simmons, John Legend, Rosemarie de Witt.
Directed by Damien Chazelle.

LA LA is Los Angeles twice! There is the city itself of which we see a great deal, as well as Hollywood, a real place as well as a Lala fantasy place.

This film has found itself on many a top 10 list for 2016, American seeming to fall in love with it. And it invites its audience to fall in love – although, perhaps a sensible warning would be to alert those who are not enthralled by musicals that they might not fall in love. It is definitely a musical, a memory of those Hollywood musicals of the past and, indeed, something of a homage to them.

You know where you sit in the cinema when the film opens with an old Cinemascope sign, freeways clogged with cars, and then one of the passengers getting out, starting to sing, followed by drivers and occupants (all young and engaging) joining in the song, joining in the dance, expertly choreographed all over the cars!

Sebastian (Ryan Gosling) becomes impatient when the driver of the car in front, Mia (Emma Stone) is too busy checking lines for her audition to move – he overtakes her and there is a mutual disregard. And this is compounded when they encounter each other in the Hollywood lot, bump into each other and Mia is covered in coffee. By chance, Mia goes to a club where Sebastian, Seb, is playing (he is a jazz lover but the manager of the restaurant wants only Christmas songs and when said improvises, he is fired), bumping roughly into Mia who wants to congratulate him.

Not the most propitious encounters for a film where you know they are going to fall in love, where they have song and dance routines in the Los Angeles streets at night, where they go to Griffith Observatory and more singing and dancing – even to special effects so that they can dance in the stars. The main song, City of Stars, has rather a lilting melody which recurs throughout the film.

The film is divided into five sections, starting in winter and going through the seasons until it is winter again.

And so, we follow Seb, his love for jazz, his composing and playing, his memories of having been betrayed by a friend, wanting to open his own club, getting the opportunity to join a band and go on tour, meanwhile getting to know Mia a better and falling in love. And we follow Mia, lots of auditions which are brief and she is dismissed, her dream that she would write a play, her writing it, rehearsing, performing, and falling in love.

It would be nice to say that everything goes smoothly – there are upsets, personal, career clashes…

What makes it a bit different from the old musical is that it gives the opportunity for audiences to look at the different events from different points of view, from tough developments and from the “typical� Hollywood ending.

The film was written and directed by Damien Chazelle who made such an impact with his music film, Whiplash (for which J. K. Simmons won his Oscar and who has been invited back by show cell to play the manager of the restaurant). So, the musical is not dead.


1. The title, Los Angeles, La La Land? The tone, the image, Hollywood? Dreams, fantasies, reality?

2. The director, his strong career? 21st-century re-creation of musicals? The homage to Hollywood musicals, plots, characters, song and dance, choreography, style?

3. The atmosphere of Los Angeles, the opening on the freeway in the traffic, the Hollywood lot, the coffee shop, apartments, clubs, rehearsals in studios, auditions, the theatre? Griffith Observatory? Suburban Nevada? The blend of reality and fantasy?

4. The musical score, the range of songs, the love the jazz, and apologia for jazz? The theme song, the theme music? The contribution of John Legend?

5. The star cast, performance, singing and dancing, romance?

6. The highlighting of the seasons, the year passing – and then winter, five years later?

7. Mia, in the car, not moving, her script? The song and dance on the freeway? At the coffee shop? Her girlfriends, the apartment, the singing, dressing up, going out, at the clubs, their encounters? Her car towed away? Passing the club, hearing Seb play? The encounter in the car, spilling the coffee, his performance?

8. Seb, his apartment, his sister and her comments, his love of jazz? Going to play, the Christmas set piece, the owner of the bar, Seb improvising, the owner dissatisfied, firing him?

9. Seb, his rough reaction to Mia when she congratulated him on his playing? Their meeting, searching for the car, the song and dance, the relationship? The later visit to Griffith Observatory, song and dance – and dancing in the stars? His life, the influence of Keith, sense of betrayal? His plann for a club, the name - Seb? The variety of jobs, playing for weddings…? Mia and her auditions, brief, the disappointments? With Greg, the date? Her rebelling? Leaving and going to see Rebel Without a Cause? Seb giving up? The film burning?

10. The seasons and the progress of Seb’s and Mia’s relationship? Her idea of the play, writing, rehearsing? Fulfilling her dream? Seb and his support?

11. Seb, the encounter with Keith, Keith’s offer, Seb agreeing, the performance, on tour? Mia’s reaction? The meal, his return, preparing it, his wanting to go on tour, Mia hurt, leaving?

12. The play, Seb having to go to the photo shoot, the satiric presentation of Seb and his variety of poses? His being late for the play, Mia leaving? The small audience, overhearing the harsh criticism?

13. Seb, alone, the challenge? Mia going home to her family, to her room, giving up the theatre? The phone call, Seb going to Nevada to tell her about the offer, the agent seeing the play, the audition?

14. Her audition, the song about her aunt in Paris? The offer of the job, away for months, in Paris?

15. Winter, but five years on? Mia marrying, her celebrity, repeating the paying for the coffee at the counter? Her husband, child? Going out, going to dinner, the clogged freeway, going to the club, Seb and his playing, her watching? The contact on the way out, the nod – goodbye?

16. The what if…? scenario, going back to their bumping into each other, a different perspective on everything, the Hollywood happy ending? And back to reality?

UP FOR LOVE/ HOMME A LA HAUTEUR

France, 2016, 98 minutes, Colour.
Jean Dujardin, Virginie Efira, Cedric Kahn, Stephanie Papanian, Cesar Domboy, Emonde Franchi,Bruno Gomila
Directed by Laurent Tirard.

This English title is playful in regard to the central theme of the film and the French title, Homme a la Hauteur (A Man up to, equal to…). While it is a romantic comedy, it is comedy with a difference, often of lightness of touch but, more often, with serious undertones.

The central character is a dwarf.

He is Alexandre, played with a genial smile and charm, reminding audiences of his Oscar-winning performance in The Artist, by Jean Dujardin. The object of his romance is a rather tall woman, Diane, played by Virginie Efira. (She could pass as something of a double for American actress, Katherine Heigl, who could take on the role were there to be an American remake.)

On the romance side the film has a charm because of Alexandre’s personality, his acceptance of his height, a genial and friendly man who has learned to put up with jibes about his height or with being ignored (a scene where a man on his mobile phone walks into Alexandre and knocks him down without even noticing). Alexandre has been married but is in a good relationship with his ex-wife, has a son (very tall) whom he willingly and lovingly supports, and is an expert architect involved in a project extending the opera house in Liege.

Diane, on the other hand, is divorced from her philandering husband, Bruno (played by writer-director Cedric Kahn) but he is still her partner in a law office, assisted by their somewhat ditzy but ultimately wise secretary, Coralie. When she loses her mobile phone and is contacted by Alexandre who reveals that he has witnessed a restaurant clash between her and Bruno, Diane meets Alexandre to retrieve the phone and finds him instantly congenial – and then he dares her to do something different, in fact skydiving from a plane.

The film shows the growing friendship, then love between the two. While the height issue provides the basis for jokes, it also provides a basis for Diane to understand Alexandre better. But, he makes her realise that she has been ‘hiding’ him from her friends – which leads to his meeting her mother at an art gallery exhibition, having a meal with her mother and stepfather, and Coralie then finding out and telling Bruno. The screenplay makes a point about disabilities by having Diane’s stepfather deaf, finding it difficult during a meal to hear exactly what is being said and misinterpreting words – and later telling his rather intolerant wife that she lives with someone who is disabled but she is the one who is truly disabled.

There has to come a time when Diane has to acknowledge whether she is able to live with the reality of Alexandre’s height and its consequences, some very rueful moments in the film for her and for Alexandre himself.

And the screenplay poses the question, how will Diane actually persuade Alexandre that she truly loves him and means it – why not another skydive!

Alexandre and Diane are quite attractive characters and so are able to carry the initially seemingly unlikely romance, the comic episodes as well as the serious implications of the situation – which means that this romantic comedy becomes something of an engaging moral fable and lesson.

1. A romantic comedy, with a difference? French style?

2. The situations, the characters? Issues of height, relationships, love?

3. Alexandre, in himself, his age, his height, the introduction, his phoning Diane, having seen her with the argument with Bruno, inviting her to meet him, sitting at the table?

4. Diane, her age, tall, at home, the phone call, the chat with Alexandre, her work as a lawyer, marriage to Bruno, separation from him, yet partner at the firm? Her decision to meet Alexandre, the restaurant, at the table, her first reaction? Yet charmed by him?

5. The dramatic situation, two people, attracted, enjoying each other’s company, sharing, love?

6. Alexandre and his life, his ex-wife and friendship with her, the bond with his son, playing table tennis with him, the son borrowing money, the son’s project, introducing him to the technical expert at the airport? Going to Liege, the extensions to the opera house, his skill at his work? A smiling man, genial, his effect on people? Taking Diane into the plane, the parachute jump and her response?

7. Diane, at work, Coralie as a hard case secretary? The clashes with Bruno? Enjoying Alexandre’s company? Buying him the pullover, the child’s size and the shop assistant?

8. Alexandre saying that she was hiding him? The invitation to her parents, meeting her mother at the gallery, her reaction to Alexandre? The dinner, her stepfather, Diane angry with the people staring from the other table?

9. Diane’s mother, her reaction, at the gallery, the shock of hearing about the marriage, her bad driving, the one-way street? Philippe, deaf, disabled – and making the point to his wife that she was disabled?

10. Alexandre and his stories, as a boy, his parents, his not growing, his being hurt, the jokes? People looking at him, the absent-minded man knocking him over? Meeting the shop assistant with her son and the same pullover? His continually being bowled over at home by the big dog?

11. Bruno, sexual relationships, with the judge, with the wife of the defendant? The arguments with Diane? Yet pursuing her? Mocking Alexandre? Interactions with Coralie? His anger, punching the seat with Alexandre in it, sitting on him? The challenge between the two in their cars? Alexandre shaping up? The cheers when Bruno backed down? The party, taunts, reaching for the serviettes, Alexandre hanging, Bruno and the table tennis challenge? Diane giving up on Bruno, his change of heart, defending the wife – and her money?

12. Diane talking with Alexandre, explaining how hard it was to be with him, her not coping, leaving? Coralie attacking her? The response her mother? Alexandre’s son and his attitude?

13. Diane admitting the truth, the decision to do the parachute jump, Alexandre and Liege, watching her, gradually melting, love, her having no fear?

14. The lightness of the comedy and romance? The very serious underlying themes? A moral lesson?

MISSION IMPOSSIBLE

US, 1996, 110 minutes, Colour.
Tom Cruise, John Voight, Emmanuel Beart, Vanessa Redgrave, Kristin Scott Thomas, Emilio Estevez, Jean Reno, Ving Rhames, Henry Czerny.
Directed by Brian De Palma.

Mission Impossibile was very popular for many seasons on television, Peter Graves and company involved in espionage, with messages that went up in flames in a few seconds, and an insistent score that was instantly recognisable.

The 1990s saw quite a number of television series, both comic and serious, leading into big-budget feature films. This one had a high-powered director in Brian De Palma (The Untouchables, Carrie…) and a higher-powered actor in Tom Cruise who, by this time, had been in the movies for 15 years, going through something of an apprenticeship in the 1980s and appearing with strong actors including Paul Newman in The Color of Money, but finding his own stardom in Top Gun.

In his early 30s, and doing his own stunts, Tom Cruise proved a credible action hero – so much so that there were four sequels during the next 20 years and Tom Cruise appeared in a number of action films including two where he was Jack Reacher, Lee Child’s tall and well built action hero, but Cruise carried off the character nonetheless.

This film has interesting locations, action in Prague, action in London, in the US and on a train from London to Paris. It also has a number of twists, especially in Jon Voight’s character as the head of the unit ordering and supervising a mission impossible, but the members of the team being killed.

Included in the team are Emilio Estevez, uncredited, Emanuelle Beart and Kristin Scott Thomas.

One of the villains is a very smooth-talking Vanessa Redgrave, assisted by Jean Reno and Ving Rhames.

It is interesting see the modes of communication in the 1990s, phones, Internet and computers – and to compare the same modes of communication in the later sequels.

But this was a big hit at the time and is still enjoyable.

1. A popular action entertainment for Tom Cruise? Cruise and his career in the 1980s and 1990s? The beginning of a franchise and the films over the next 20 years?

2. The popular television series, agencies, espionage, the disguises, plot twists – and the messages in smoke after five seconds? The popular musical score and its use in this film?

3. The range of locations, the opening in Ukraine and the studio, action in Prague, the move to London, on the channel train? The secure facility? Atmosphere of excitement? The musical score?

4. The introduction to the theme, the interrogation in the Ukraine, the threats, the surveillance and the death of the officer? Getting the traitor? Masks removed? The introduction to Ethan Hunt?

5. Jim Phelps and his assembling the group, the teamwork, the different personalities, the tasks? The list of agents, codenames, the need for espionage agencies to have the full list? The reception in Prague? The criminal and his attempt to steal the code? Jim and his coordinating in the room, with a variety of screens? The role of each of the members of the team? Jack, technical, into the elevator shaft, his control of the screens, the engineering – and the interference, and his death in the shaft? Hannah, surveillance at the reception? Sarah, social, with Ethan in disguise as the Senator, getting the pass, going into the computer room, setting up the camera in the glasses? Ethan and the audience having seen the television interview with the Senator? Claire and her standby, her being Jim’s wife?

6. Things going wrong? Jack and his death? Jim on the bridge, his being shot? The car exploding? Ethan, pursued, with Claire, catching up with the criminal, his death, Claire’s death?

7. The aborting of the operation? Ethan going back to the hotel? The code, Job chapter 13? Noticing the Bible, looking up the reference, his using it in emails to all the connections, and the different languages? His noticing the Drake hotel on the book, where Jim had stayed in Chicago?

8. Finding Claire alive, their working together? Suspicions about her or not?

9. The email return, the men picking up Ethan, going to see Max, her being in control, wanting the information, wanting to sell it? Ethan and his deal?

10. The introduction of Max’s two assistants, the ex-agency operative, Luther, and his role, the action agent, Franz? Working with Ethan?

11. Infiltrating the agency, getting the disk and copying it? The device of lowering Ethan from the roof, the distracting of the official and Claire putting the poison in his drink, his being sick? Franz holding Ethan, the rat and the threat, his dropping his knife, the pressure on the floor but its hitting the table? Ethan getting out? The later confrontations about the disk, Ethan
and his magic trick, Franz and his confusion about the disk?

12. Max, the discussions, the disk? Her assistant and checking things?

13. Jim reappearing, his story, the visualising of the attack, the visualising of the reality? His deal, wanting the list, money issues?

14. The setup for the train, Luther and his blocking the transmission of the disk, Max eager to get the money, her assistant? The waiter and giving the mechanism from the table to block the transmission?

15. Claire, knowing that the money was in the baggage car, talking to Jim, Ethan taking off his mask, her being trapped?

16. Jim, getting the money, fighting with Ethan? Going onto the roof of the train, Ethan pursuing, Franz with the helicopter? Going into the tunnel? The acrobatics of the fight, Jim getting onto the helicopter, Ethan pursuing? The crash and explosion, Ethan thrown back on the train? Max and the arrest?

17. Ethan, on the plane as was Jim at the beginning, the flight attendant with the video, the message – and the possibilities for a further adventure?

MAX

US, 2015, 111 minutes, Colour.
Josh Wiggins, Thomas Hayden Church, Lauren Graham, Luke Kleintank, Robbie Amell, Mia Xitali, Dejon La Quake, Jay Hernandez.
Directed by Boaz Yakin.

Max is a dog story with quite some differences.

At the opening of the film, there is information given about the dogs who were trained to serve in middle eastern wars, including Afghanistan, a considerable number, some of whom, along with their trainers, were killed in action.

The film opens with sequences in Afghanistan, Max in action with his trainer, Kyle, a strong bond between the two – but, in an ambush, in order to save Max, Kyle is killed in action.

Meanwhile, back home, Kyle’s father is a strict disciplinarian, a war hero from the Gulf War, who clashes with his teenage son, Justin, who also misses his brother away in action. His loving mother has to keep the peace between father and son.

Josh Wiggins is effective as Justin, Thomas Haden Church and Lauren Ambrose as his parents.

Grief at Kyle’s death give some pause to the animosity between father and son, especially at the funeral when a dog-training Sgt brings Max in who then races up to the coffin. He is taken to a compound but the family come and Justin is entrusted with care for Max, something he is reluctant to do but he begins to bond with the dog and, meeting with his bike riding friends, he encounters Carmen, who knows more than a thing about how to train dogs and she helps take Max in hand just as she takes Justin in hand.

So, the making of an engaging dog story. But, there is more.

Kyle’s best friend was involved in some shady deals in Afghanistan, especially a procurement of arms and illegal sales, something he wants to continue when he has been dismissed from the Marines and pretends that he has been wounded in battle. Kyle’s father believes him and offers him storage space in the huts which his company owns.

There are shady deals with local criminals, plans to transport the arms into Mexico – but, Justin overhears, he and Max are chased and eventually threatened by the criminals.

Well, Max and the kids to the rescue, especially when the criminals find the father looking into the storage rooms.

No surprises in what happens – it is just the interest in seeing how it all happens. And a satisfactory happy ending to quite an entertaining film.

1. A popular film about a dog? Military service background? American family background? The touch of the thriller?

2. The tribute to the number of dogs trained for military activity, in Afghanistan?

3. The Afghan sequences, the troops, in the villages, in action? Attacks and deaths? A sense of reality about American troops abroad? Honourable troops? The wheelers and dealers, especially in arms sales?

4. In America, southern states of America, homes, the woods, rivers? Action sequences?

5. The introduction to Max, working with Kyle, the bond between man and dog, the later video about training, bonding? Max in action with Kyle in Afghanistan, the house, the denials about arms, the dog finding the hidden cache under the floor? The ambush, Kyle’s reaction, Tyler’s reaction, Kyle saving Max, being killed? And Tyler’s false version on return?

6. The family, Ray and his experiences in the Gulf War, injuries – seen as a hero, marching on 4 July? Tough, hard on his sons? His later confession about his being wounded and shipped out, not being a hero, not being able to tell the truth to his son? Pamela, devoted mother, keeping the peace between father and son?

7. Justin, his age, surly, the clashes with his father? Holding up Kyle as a model? His friends, downloading computer games? In his room, playing the games? With his father, the news of Kyle’s death?

8. The funeral, the hymns, the congregation? Sgt Reyes coming with Max, the disturbance in the church, Max immediately going to the coffin? The aftermath? Max being taken away? The family coming to the dog centre, the decision to take Max? Justin and his reaching out, Max’s reaction?

9. Max, at home, aggressive? In the backyard? Ray buying the cage and Max in the cage? Justin and his working with the dog, his father’s expectations? The night, the barking, lying on the ground?

10. Justin and his friends, the meeting with Carmen, a strong approach, his friendship with Chuy, the other boys, riding the bikes, the dangers – and his riding the bike over the ravine?

11. Carmen, her knowledge of dogs, the attraction between the two, going home, helping Justin, the talk about discipline, rewards, Max and his being agreeable?

12. Tyler, the return, his speech to Ray, his injuries, lies? Ray and his storage rooms, Tyler using them for the arms?

13. Justin, the discovery of the truth, Emilio and his connections, the arms deals, and the corrupt police officer? The chase, setting the dogs on Justin, Max and his aggression, their having to put one of the dogs down? The later threats, the Justin could not reveal anything? His father questioning him, no answers?

14. The visit to Sgt Reyes, his sympathy, lending the video about Kyle and Max, searching for information about Tyler and telling Justin?

15. Ray, suspicions, going to the store rooms, discovering Tyler and the truth, their taking him away?

16. Justin, Carmen and Chuy, the bikes, finding Ray, Carmen going to get help, the kiss, Justin and Max’s leading the criminals on the chase? Ray getting free, shooting the engine and tyres, yet the criminals driving, pursuing Justin? Max and his heroics?

17. The resolution of the difficulties? Ray giving away the cage? Talking frankly with Justin? Justin and his sadness about his brother’s death and not growing older with him? Reconciliation with his father?

18. And a happy future to Max?