HYENA

UK, 2014, 112 minutes, Colour.
Peter Ferdinando, Stephen Graham, Neil Maskell, Richard Dormer, Elisa Lasowski, My Anna Buring, Gordon Brown, Tony Pitts.
Directed by Gerard Johnson.

Hyenas can be seen as loathsome animals, animals of prey. It is an image for the central characters in this film about police corruption.

The film is set in contemporary London, initially focusing on a group of corrupt police who destroy a bar and steal money and drugs, afterwards enjoying them in the company of their girlfriends, but going back to work with strong reputations as effective detectives with solid arrests.

This provides a complication for audience response, the central character, Michael Logan (Peter Ferdinando who also starred in the director’s previous film, as a serial killer, Tony) becomes the focus, audiences identifying with him and his plans while, at the same time, being disgusted by his behaviour.

The film shows the background of drug dealing in London, especially with Turks and Albanians. The Albanians want to take over, have their own clubs, their own methods for getting drugs into the United Kingdom, dealing in human trafficking and prostitution. Michael Logan wants to do deals with them – but, unexpectedly, is seconded to a detail to investigate the Albanians. This leads to further problems for him, the squad being led by a past partner and then antagonist, played by Stephen Graham. There is also an investigator played by Richard Dormer who is antagonistic towards Logan.

There is some humanity in Logan when he is attracted by the accountant for the Albanians, who is the victim of human traffic with threats to her family at home, and is rescued by Logan.

There are some twists which Logan does not foresee leading to a brutal confrontation with the Albanians, a vicious murder and the hacking of the body, leading to Logan getting information by tape recorder and a confrontation with the investigator.

The film just stops rather than coming to a conclusion – a focus on the Albanians, Logan’s girlfriend, Lisa, and the Albanian woman, and Michael sitting in a car deciding what he should do.

1. A grim film about the underbelly of the London criminal world, Eastern European and Turkish drug dealers, clubs, human traffic, prostitution? Corrupt police, the connections with the criminals? An ugly picture?

2. The London settings, Queensway and the Internet cafe, the cover for drug dealing, prostitution? The range of clubs? Contrast with police precincts, offices? Homes and flats? The streets? The blend of the ordinary with the underbelly?

3. The musical score, background, its being used instead of realistic sound effects, for the opening smashing of the bar?

4. Introduction to Michael Logan, at his house, the audience focusing on him and his appearance, his driving, picking up his friends, donning the police gear, going into the club, smashing everything, bashing, taking the money and drugs? Their exhilaration?

5. The aftermath, the mood between the men, jovial, joking, drug taking? The audience realising the extent of police corruption, methods, motivations – and the irony that they were good at their police work?

6. Michael going to see the Turk, the plans, the money, the intrusion of the Albanian men, killing the Turk, Michael witnessing it? Taylor and his plan to frame Michael for the killing, fingerprints and DNA?

7. Michael, confronting the Albanians, their history in London after Albania, language, the brother who could not speak English? Michael and his threats, deals? Their agreement? The later consultations, the deals? Their offering Michael a girl for the night, his going, the sexual encounter, his interest in getting information about the brothers, going upstairs, the meeting with the accountant, the brothers blaming her, torturing her, her past history and being taken from her family, the threats to her family, her being sold? Michael meeting her, giving her the phone number, her taking it up, Michael rescuing her, installing her in the flat, with the help of Lisa?

8. The police, the local chief, trusting Michael? Michael’s allies, their behaviour at the station? Michael and his being transferred? Their reactions? The information about the marijuana haul? Their plan, avoiding Michael, their going to the storage, their taking the marijuana, the scene of their juvenile celebrations? Their arrest? Their interrogations? The decision to set up Michael? Keith and his saying that he was bullied by Michael?

9. The new squad, Michael’s secondment, David as leader, the past and his clashes with Michael, the grudges, the attempt to put them in the past? The discussions tween Michael and David? Michael and his going to the Albanians, the map of the drug route, the plans for a deal? The discussions with David, David entering into the deal, percentages, the going together to the Albanians, David denying any connection, everything being taped? The Albanians brutally killing him, cutting up his body for disposal?

10. Ariana, the phone call to her family, Lisa looking after her? The Albanians tracking her down, the phone call from Michael, the guns, the women asking Michael to come?

11. Michael, desperate, listening to the tapes, the confrontation with Taylor, the sequences of animosity between the two, the confrontation, and abducting Taylor in the boot of the car, going into the woods, the tape and Taylor’s trying to frame Michael, his plea for his life, Michael shooting him?

12. The film just stopping – and leaving it for the audience to create their own scenario, the focus on the Albanians waiting for Michael, holding the women; the two women, their vulnerability, their dread; Michael waiting in the car, making up his mind as what to do…?

13. An effective look at police corruption and consequences?

THE SALVATION

Denmark/South Africa, 2014, 92 minutes, Colour.
Mads Mikkelsen, Eva Green, Jeffrey Dean Morgan, Eric Cantona, Mikael Persbrandt, Douglas Henshaw, Michael Raymond- James, Jonathan Pryce.
Directed by Kristin Levring.

In many ways, the Salvation is a misleading title. There are some religious elements in the screenplay – but the ending provides some salvation for a town that is being oppressed by a savage gunfighter.

The idea of a western made by a Danish company is intriguing. And, they decided to make the film in South Africa. This means that there is a different perspective on the west, and the locations do not look particularly like the American West despite the building of a town which is to be destroyed at the end.

This is a double revenge western.

The focus is on a Danish soldier who goes to America after the war with Germany in the 1860s, settles but is unable to bring his wife and son to America for seven years. The film opens with their arrival, love, hope.

This hope is short-lived as two men, just release from prison, takeover seats in the Stagecoach, Torts – which lead to the death of the son and the wife after she has been raped. The soldier has been thrown from the coach – but, when he finds his dead wife and son, he shoots the rapist and his associate.

The brother of the criminal, a harsh soldier in the wars against the Indians, demands revenge from the town, from the undertaker-mayor, Jonathan Pryce, and the sheriff is also a minister of the church, Douglas Henshall. When the soldier is captured, along with his brother, he is tied to a post in the centre of the town and exposed to the elements but, eventually, freed by his brother and they escape.

There is a subplot about the wife of the dead criminal, Eva Green, who was tortured by the Indians as a child, their cutting out her tongue. She is involved with her brother-in-law in schemes to buy up the properties in the area but is sexually abused by him.

The climax is the soldier getting his revenge, killing the mayor and placing him in one of his own coffins, setting buildings on fire, shooting all the gunslingers and, eventually a confrontation between the soldier, the wife and the Indian fighter.

This is strong stuff, cowritten by Anders Peter Jensen, a prolific screenwriter and director, responsible for a number of films starring Mads Mikkelsen who again gives a strong performance. Jeffrey Dean Morgan is the loathsome villain with no redeeming features.No salvation for him.

1. The title? Its meaning for Jon and Madeline? Its meaning for the town? Revealed at the end?

2. A western of the 1870s? Audiences familiar with the landscapes, the towns, the gunfighters? A Danish perspective? Different?

3. The locations in South Africa? Not looking like the familiar west? The bright colours of the day sequences? The dark, blue-grey tone of the night sequences? The musical score?

4. The film as a revenge western? Brutality, justice, double revenge?

5. The information about Denmark, the war against Germany, the 1860s? Jon and his brother going to America? The long wait to bring his wife and son? Waiting at the station, tension, the arrival, joy, issues of language, Danish and English? The plans and hopes?

6. The stagecoach, the intruders, the taunts, the drink and the demands on Marie, fondling Marie, the pulling of guns, the companion and his gun, the taunts to Jon, pushing him from the coach? His walking, discovering the body of his son, the body of his wife? Shooting the stagecoach, shooting the men?

7. The town, Henry, his wanting revenge? His hold over the town? The mayor-undertaker? The sheriff-religious minister? The other citizens? Henry and his men? Demanding the killer to be brought, the deadline? His shooting the one legged man, the grandmother, the husband?

8. The town in fear, the buying up of the land, the role of the mayor, the deeds, giving them to Henry?

9. Jon riding into town, his capture? The capture of his brother? In the cells? The discussions with the minister, one man dying to save everyone else? The confrontation with Henry, the humiliation of Jon, his being taken to the post, tied up, left in the sun, the torment?

10. Jon’s brother, taunting the guard about his ugliness, tripping him, getting free? Freeing Jon, their riding off together? Jon and his weakness, hiding in the rocks? His brother leading the posse astray, their finding him, dragging him back to the town?

11. Jon, with the widow, the water, food? Her situation with her dead husband and the getting of their land?

12. Jon riding into town, his plan? Going to the mayor, having signed the deed and putting the money in his boot, the mayor taking his boots and the money? The mayor getting the coffin, getting in, his being shot? The wagon bringing the coffin into town?

13. The land deals, Henry and Madeline, his sexual encounter with Madeline, her reaction? Her past, treatment by the Indians, cutting out of her tongue? Her participation in the land deals, the money? A reaction against Henry? Taking the money, going to the train? His catching up with her, hitting her, imprisoning her, the threat of death after the men raped her?

14. Jon, going to the shop, the young lad whose grandmother was killed, his being a good shot? Jon and the guns, bullets, knife, kerosene?

15. The siege, Jon and his ability to pick off Henry’s men? The help of the young man, shooting from the roof? Setting the barns alight, the horses escaping? Jon being wounded?

16. The final confrontation with Henry, Henry scoffing, Madeline shooting him?

17. The sheriff riding in, coming in with help, the confrontation with Jon, the sheriff thanking him for saving the people? Jon and Madeline riding out? The final glimpse of the town, the discovery of oil and the derricks?

DAUGHTER OF GOD/ EXPOSED

US, 2016, 104 minutes, Colour.
Keanu Reeves, Ana de Armas, Mira Sorvino, Christopher Mc Donald.
Directed by Declan Dale (Gee Malik Linton).

This is not an easy film to follow. It seems to be in two parts, one a Spanish-language film focusing on a young woman who has had some extraordinary experiences, seemingly supernatural. The other part is in English, focusing on a detective who investigates the death of his partner. There are some interconnections, finally with the woman herself.

The background of the making and editing of this film may explain the difficulties with it and some plot confusions, loose ends and it simply ending leaving the audience somewhat baffled. The writer-director asked for his name to be removed from the film because the executives at Lionsgate recut the film so that it focused more on the detective character, a star vehicle for Keanu Reeves. In fact, the young woman, played by Ana de Armas, is the more interesting character.

The film captures a lot of the atmosphere of Latino New York, the streets and shops, the homes, the schools, the characters, some of the crime background, standover criminals, some of the men in prison, and a nod to servicemen in Iraq and deaths in action.

We are first introduced to the young woman, a gentle type, hoping to be engaged, living with other Latinos and her parents, prayerful, with her rosary, using God language. She is seen at a nightclub with some suspicious types and is photographed with them, the photos being found on the body of the dead partner. After being in the nightclub, she sits at the subway station, happily fiddling with her ring which falls off and she loses – only to see a strange albino character appear on the platform, walk on air out into the centre of the tracks to see if the train is coming. He boards the next train, which she does not. Later, as she walks around the city, she sees a number of characters – presumably entertainers who mime standing on the streets in costumes and make up. Certainly, the young woman sees things.

When she goes to the doctor, he announces that she is pregnant and she is joyful, telling people who then become very suspicious of her, even the old lady that she relies on and whom she asks to pray a blessing for her. it is recommended that she see the priest – though she does not.

She also coaches some children and takes pity on one of them who seems to have a violent father, and, of delivery delivering her home, the little girl comes to stay with her. There are some details about the toy horse which the little girl loses, the woman buying her another one – and the detective asking questions about the horse, a theme which is not followed through.

This all seems to reveal suppressed memories of her being abused as a child – and, then it is revealed, that she has suppressed the memory of the police partner raping her on the subway platform, her knifing him and his falling on the tracks.

In the background is the police investigation, Mira Sorvino as the wife of the dead man who knew something about his corruption, who wants his name avenged but who is threatened at losing the pension because of the exposure of his crimes – which include raping a young man, dealing with drug lords… She also instigates a sexual relationship with the initially reluctant detective.

In the meantime there are more details about the detective who is widowed, his young son in Miami, sending him a birthday card, talking on the phone.

There are also quite a number of scenes, in Spanish, with locals associated with the dead partner, many of whom are killed, as well as a drug boss who makes threatening visits to young men in the city.
The film is a curiosity item; one can focus on the police investigation sequences, on life amongst the Latino population of New York City, or the strange experiences of the pious young woman who interprets her pregnancy along the lines of a virginal conception and has suppressed memories of sexual abuse.

UNDERWORLD: BLOOD WARS

UK/US, 2016, 91 minutes, Colour.
Kate Beckinsale, Theo James, Lara Pulver, Charles Dance, Tobias Menzies, Bradley James, Daisy Head, James Faulkner.
Directed by Anna Foerster.

This is the fifth film in the cab underworld series, which is lasted well over a decade. It is not a film to make converts – a bit late because there is so much background from the previous films to be absorbed to make sense of this one.

So, it is definitely a film for the fans, just the 90 minutes, not overstaying its welcome, plenty of the same ingredients – but a plotline which is much more direct, less convoluted than before.

Basically, the film lives up to it title, this is a Blood Wars conflict, several rather blood in gory battles, and a climax where it is clear from the film that the vampires are the goodies and the lichens are the baddies – the vampires being, on the whole, very civilised in their way of speaking, their behaviour (though not without their traitors) and the lichens are vicious werewolves who burst out of their human skins to become giant, aggressive beastly dogs.

The heroine of all the films, Kate Beckinsale is Celine, seems to be at peace after the previous episodes, lamenting the death of her lover Michael, regretfully having to leave her daughter, a girl of mixed vampire and lichen blood, who becomes the prey of the Lycan chief who wants to get her blood to become all-powerful.

Speaking of all-powerful, there is a very sultry villain S, semi era, (a seductive Lara Pulver) who wants revenge against Celine, persuades the vampire leader, Thomas (Charles Dance) to get Celine and his son David (Theo James) to come to one of the remaining vampire mansions. Celine is to train the vampire soldiers for conflict against the Lichens.

With all that mention intrigue, Celine and David go north to another vampire mansion in the snow and ice. The lichens have a vampire spy and so attack in the North – with a surprise conquering of Celine by Marius (Tobias Menzies) the Lycan who is seeking domination.

So, back to the original mansion, some era thinking she has the upper hand, only to be confronted by David, betrayed by her lover, but saved, momentarily, by another Lycan attack – and the resurrection of Celine.

Happy ever after? The possibility – but taking the story further is also a possibility…

1. The popularity of the Underworld series? Audiences familiar with the characters, the traditions, the horror styles? Vampires and Lycans? Into the 21st century? Conflicts?

2. Audience familiarity with the folklore about Vampires, the kingdom, at night, the few colonies left in the 21st century? The role of the Lycans, the werewolf tradition, animal and brutal compared with the civilised vampires? The intermingling over the centuries?

3. The Underworld world, its look, dark, the mansions with the vampires, night, the interiors, the north? The gathering of the Lycans? Special effects, action sequences? Musical score?

4. The title, the wars, the personalities, goals – and hopes for peace?

5. Seline, the heroine, her past? Her love for Michael? The birth of the daughter? Growing up, the mixed blood, her being the target of the Lycans to supplement their blood and their power? Seline separating from her daughter, not knowing where she was, to protect her? The role of David, the issue of peace? The Lycan leader and his attack?

6. David and Selene, David and his relationship with his father, Thomas in the tradition of the vampires? The discussions with Semira, her persuading him to talk to the Council, her machinations, manipulations, David and Selene returning? The role of Selene, training the troops? Semirar, wanting vengeance, her lover and his attack on Selene, the killing of the vampire soldiers? The fight, Thomas giving his life, David and Selene escaping?

7. Travelling to the north, the colony, the refuge, the vampires and their welcome? Marius, the attack of the Lycans, in human form, in werewolf form, gigantic? The battle, the deaths? The fight in the ice, Marius and Selene, her going under the ice with the possibility for new life? Her return?

8. David, declaration of his ancestry, the blood, is being accepted as the king? The confrontation with Semira, Semira wanting power, drinking the blood, the vampire in love with Marius, her return with the information, Semira killing her?

9. The final attack, David and his strategy, the fight within the mansion? The Lycans, the brutality? Selene’s return, the final confrontation with Cassius and his death? Semira’s death?

10. The restoration of order, Semira’s lover and his turning against her with loyalty to the Council?

11. David, the restoration, peace in the future?

A UNITED KINGDOM

UK, 2016, 111 minutes, Colour.
David Oyelowo, Rosamund Pike, Jack Davenport, Tom Felton.
Directed by Amma Asante.

No, not the United Kingdom, though its government and colonial officials play a significant role in this story. Rather, this is the story of a kingdom in southern Africa, Bechuanaland, and a crisis, beginning in 1947 that ultimately led to the establishing of the independent country, Botswana.

This is a true story, one that many audiences may not be familiar with at all, but well worth learning about.

Bechuanaland had a centuries-old tradition of a monarchy and succession. At this time, there was a regent, an uncle ruling for his nephew, Seretse Kharma, who was studying in England in preparation for his destiny. Before his return he met a young woman, Ruth Williams, daughter of a salesman, to whom he was attracted, to whom he proposed – and was accepted. Accepted is not exactly the word that describes the reaction of her father nor of the reaction of Seretse’s uncle and the immediate response of the people of Bechuanaland.

Before the marriage, Lord Alastair Canning, governor of southern Africa, confronts Ruth at the office in her typist pool, threatening her that she will bring down the British Empire. She defies him. The couple are married and travel to Seretse’s home country. At the meeting of the tribe, his uncle denounces him, demands that he divorce his wife in order to become ruler.

While, initially, Seretse and Ruth think that they might have underestimated the situation, they stand firm, Seretse making a fine and rousing speech which overcomes some of the opposition from the people and he is accepted, to Lord Canning’s disgust.

The drama continues at a personal level, Ruth spurned by Seretse’s uncle’s wife as well as by his sister – though his sister begins to relent as she sees Ruth becoming part of the community.

But the drama also continues at a political level, the British government demanding that Seretse return to England, suggesting that he take a diplomatic post in the Bahamas for five years and, when he declines, planning to exile him from his home. In the meantime, Ruth gives birth, communicating with her husband by phone. There is a movement in England to support Seretse, even an appeal to Prime Minister Attlee – with the revelation that Britain is concerned about South African support, finances, anti-Communist stances, rather than a small kingdom which is openly defying apartheid.

Winston Churchill does not come out of the story too well, having promised the King’s return were he to be elected in 1948 – but reneging on the promise.

The years in exile in Britain are long, Ruth joining her husband with their daughter, her father being reconciled, but little prospect of returning home.

Some political shrewdness is exercised, especially by the British government, unwarily agreeing that Bechuanaland should have control over any mineral discoveries (while companies from South Africa were digging into Bechuanaland), and it is possible for the couple to return – with information given during the credits of the independence of the country, becoming Botswana in 1966, Seretse, advocating democracy rather than monarchy, as the president and the subsequent history of the country, with photos of the actual protagonists during the credits.

The film was directed by Amma Asante who made the striking film about racial issues in 18th century Britain, Belle. This is one of those very well-made British films, well acted by David Oyelowo as a Seretse Kharma, Rosamund Pike as Ruth Williams and Jack Davenport as Lord Canning - and always interesting at the personal and political levels.

1. A true story? Audiences aware of the history and the personalities? A story of southern Africa, the British Empire, the role of South Africa, the 1940s and 50s?

2. The settings in London, 1947, student life, the boxing ring, typist work, the Society for Mission activity, the dances and socials? The later sequences, the political offices, government, parliament offices? The meetings? The musical score?

3. Authentic locations in Botswana, re-creation of the 1940s, the terrain, mountains, desert, the town, local conditions, the homes, huts, lifestyle, hospital, shops, colonial houses?

4. Seretsi Khama, David Oyelowo and his portrait, the story of his heritage, the long tradition of Kings, his parents’ death, his uncle acting as regent, being trained to be king, studies in London, his return, the history of Bechuanaland and the threats, asking Queen Victoria for protection? Seretsi as a person, the boxing, the dancing, love of jazz, the gifts for Ruth, meeting with Ruth, in love, their walks, talk, sharing, being accosted by the thugs in the street, called a savage? The decision to propose, the proposal scene at the bridge?

5. The contrast with Ruth, British, daughter of a salesman, ordinary home life, going with Muriel to the dance, seeing Seretsi, the interest in jazz, the gifts, the meetings, the dance, the prejudice in the street, her father cutting her off? Her response to his proposal?

6. Sir Alastair Canning, the visit to the typing pool, threats, explanation of the political situation and its implications? Ruth’s stand?

7. The British government and its role in Bechuanaland, Sir Alastair Canning and his governing role, Lancaster as the representative? The conditions for the tribes, the experience of apartheid, Lady Canning, Lancaster and his wife? The conflict? Lancaster and his interventions, the threats? Stones thrown at him? His arrogance and stubbornness?

8. The opening with the uncle writing the letter, Seretri and his return, prepared for hostility, some of the people cheering, the others quiet? The conflict with his uncle? His uncle’s prejudicial stand? Urging the Archbishop of Canterbury and others to investigate? The report, its being kept secret, the British government and its interpretation?

9. Nash, the media, wanting a story, the story of the diamond mines, from South Africa into Bechuanaland, the continued encounters, his getting the information to Seretsi, Seretsi offering him the report and the threat from being made public in the media?

10. Seretsi and Ruth arriving, the glimpses by plane, the car, the uncle, the stage, the uncle wanting him to separate from Ruth, the reactions? The condemnation by the uncle’s wife? Seretsi’s sister? Seretsi’s speech, the appeal against apartheid, the appeal for unity, the people’s reaction, accepting him as chief? Alastair Canning witnessing this, his reaction?

11. Life in Bechunaland, the difficulties, malaria, the mines, Ruth going shopping, the hostility, her sister-in-law helping, beginning bonding?

12. The machinations of the British government, Seretsi having to return to England, the meetings, his being exiled, the offer of the job in Jamaica? His continuing in London? The phone calls?

13. Ruth, the collapse in the street, hospital, the white women offering the South African doctor, her sister-in-law helping, driving to give birth, with the other mothers, her carrying the water, the women praising her, singing the song for her?

14. Phone calls, the British parliamentarians, Anthony Benn, discussions with Attlee, Churchill and his promises, the role of the British government, the dependence on South African gold and diamonds, anti-Communist stances?

15. The years passing, the story of the mines, the meeting in Parliament, the decision to give Bechuanaland control over the resources?

16. Ruth, returning to the UK, her father relenting, the years passing, the various visits, the committee committees, the Parliament, the permission to return for one week, Canning’s disapproval?

17. The return, Canning angry, the meeting with him, the bargaining, the threat of the publishing of the report?

18. Seretsi and his solution, the abolition of royalty, the introduction of democracy, a policy of equality, anti-apartheid? Overcoming reverse prejudice? The discussions with his uncle?

19. The subsequent history, the independence for Bechuanaland, becoming Botswana, Seretsi as the governor? The later authorities?

20. The credits in the photographs of the actual people?

21. An interesting retrospect on the British Empire, colonial interests in Africa, supercilious superiority of the whites, implications of apartheid and reverse prejudices?

QUEEN OF KATWE

Uganda, 2016, 124 minutes, Colour.
Madina Nalwanga, David Oyelowo, Lupita Nyong'o, Martin Kabanza, Taryn Kyazw, Esther Tabanddeke.
Directed by Mira Nair

It is important to realise immediately Katwe is a section of Kampala, capital of Uganda.It is a poor area, a slum area, makeshift homes, drains, much dirt and squalor, people surviving in menial jobs and at local markets. This is the setting for this rather inspirational drama, one of those stories about an unlikely prodigy, a seeming underdog, who trains, experiences conflicts, but succeeds in the area of their prowess.

In this case, it is chess.

The film is based on a true story, opening in 2011 with a chess tournament and going back to 2007 to show the discovery of Phiona and her talent for chess and the training and experiences building up to the tournament. In fact, the film does go on to some succeeding years with Phiona continuing her success – and, in a delightful and very pleasing way, the final credits having the cast of the film stand in front of the camera, one by one, with the actual character that each represented coming to stand beside them.

David Oyelowo (A United Kingdom, Martin Luther King in Selma) plays a sports coach, a former soccer player, who is employed by a ministry that has an outreach for poorer children in sport. He also has a talent for chess and invites a number of children from Katwe to a hall where they can learn to play chess, to use their minds and intelligence, to plan, to be courageous in fighting play, to learn lessons that will carry over into their lives. One day, following her brother, Phiona turns up, is ridiculed by the other students because she stinks, but she stays, defiant, washes at home and returns the next day and learns the basics.

Because of the warmth of the story and David Oyelowo’s playing as the coach, Robert Katende, the film has a very strong spirit. The other contribution, apart from Manding Nalwanga as Phiona, a 10-year-old girl with determination, is that of Lupita Nyong’s as Phiona’s mother, Harriet, a widow with several children, trying to cope by selling fish and corn at the market, a woman trying to manage and exerting strong discipline – although her oldest daughter goes off with one of the locals and, temporally, lives in some luxury.
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The film is directed by Indian director Mira Nair, director of such interesting films as Salaam Bombay, Mississippi Marsala, Monsoon Wedding, who has lived in Uganda for many years and knows her way around the city and capitalises with the use of actual locations.

Robert is able to raise money by playing football for the cash deposit for his group of children to play in an upper class college in Kampala, Phiona shocking the champion by beating him, the locals at home getting a great boost in spirit from her victory. This is something of the pattern that continues for some years, Robert’s sympathetic wife teaching Phiona to read so that she can study chess books, the discovery that she can see in her mind the consequences of a move eight moves ahead. Her chess education includes a triumphant visit to a competition in Sudan and a less favourable competition in Moscow.

At this pre-adolescent age, Phiona is not always able to deal with the consequences of success, seeing how the other half live, looking at her own conditions. But, she takes the matter in hand, supported by Robert and his wife, Robert also able to speak frankly and encouragingly with Phiona’s mother.

Obviously, the film is going to have a happy ending, Phiona is not yet 20 and articles and books have been written about her as the child chess prodigy – and the credit information supplies what has happened to all the characters, reminding audiences that if opportunities arise and are taken, success is possible.

Other chess films of interest include The Search for Bobby Fisher but, a film that parallels the story here, is the New Zealand true story film, The Dark Horse, with Cliff Curtis teaching children to play competitive chess.


1. A true story? An inspiring story? Affirmation, opportunity, strength of character?

2. A story from Uganda, for the Ugandan audience, African audiences, worldwide? The story of the human spirit?

3. The Katwe locations, the slums, the streets, makeshift homes, the poverty, squalor, the markets, smell? The contrast with Robert’s house? The school, the upper-class college, the venues for the national championships, Sudan, Russia? Authentic feel?

4. The musical score, the mood, the range of music?

5. Opening with the climax tournament in 2011, going back to 2007, seeing Fiona over the four years?

6. The introduction, Robert, his work in sports, for the Ministry, his past playing football, injuries, his wanting a job? Training the boys at football? His playing football in order to raise money for the entry into the competition? Marriage, love for his wife, daughter? His work, capacity for relationships? A good man?

7. Fiona and her family, Harriet, a strong woman, hard, the widow with the children, her work, the markets, discipline at home, the daily routines? Her children, the boys, the girls and, especially, Night, older, going off with the boys, the way of life? Fiona as serious? Brian serious?

8. The work of the Pioneers, Robert and the group, their seeing him as a coach, cleaning the hall, the tables, the children playing chess? Fiona curious, following Brian, the children reacting to her smell? Her determination, staying, washing at home, returning? Robert commending her? The young girl explaining the rules of chess? Phiona’s interest, capacity for learning, playing the games, winning – and the reaction of those losing to her? Talent, skills? Robert being alert to her?

9. Robert and the offer of a job, engineering – but his having to wait for the offer? Its coming later, but his involvement in chess? His turning the job down, explaining to his wife, her support of his doing what he did best?

10. Going to the Ministry, the snobbish attitude, the demand for the money to enter the poor children? The bus, going to the college, the impact on the slum children? The scholars, uniforms, manners? Fiona playing the champion and winning, the shock of the students? The medal, acclamation on her return home?

11. The effect on Fiona, learning to read, Robert’s wife teaching her? Her capacity for working out eight moves ahead? Home, pressures, the jobs? Her going to Sudan, the plane ride, the tournament, her winning, and further acclamation on her return?

12. Harriet, her strong stances, not understanding, her anger with Night, the experience of the floods? Night offering her money, her pride, Fiona making her accept? Fiona, reading at night, the expense of the paraffin? Her mother using the money to buy more paraffin and encouraging Fiona to read?

13. Brian, the accident, Fiona paying the man on the bike, the hospital, the sowing of stitches without anaesthetic? Harriet organising the escape, no payment? The woman demanding payment and evicting the family? The family wandering, looking for shelter?

14. The helpers getting the house, more space, Night and the revelation of her pregnancy?

15. The years passing, Fiona learning, playing, improving? But also becoming arrogant, the touch of envy for the high life that she had experienced?

16. Going to Russia, her losing, her reaction, sobbing? Robert and his apprehension, encouraging her? Robert and his philosophy of life? His telling Fiona his story, the absence of his mother, meeting her again at six, her death, wanting to give up but not giving up, opportunities?

17. Fiona, her decision to move out, the explanation to Robert, Robert and his wife allowing her to stay? Going to school, the uniform, classes, Brian also at school?

18. Robert, talking with Harriet, the explanations? Fiona visiting her mother at the market, the embrace?

19. The local support for Fiona, 2011, the tournament, everyone in the audience, including Harriet? The children understanding chess as they watched? Her opponent, tricking her, the victory?

20. The return, joy in Katwe? Taking Harriet to the new home, the comfort?

21. The credits, the song about the spice? The actors and their standing next to each of the characters they represented? The reality of the story on screen?

22. The perennial ingredients of sport and talent, underdog, overcoming difficulties – but always a strong spirit?

MONSIEUR MAYONNAISE

Australia, 2016, 88 minutes, Colour.
Philippe Mora.
Directed by Trevor Graham.

Obviously, some Gallic touches with a title like this – and some sequences on the making of mayonnaise, on the variety of ingredients, that may startle some with cooking interests.

However, this is an excellent documentary, always interesting and entertaining, a strong 90 minute episode along the lines of “Where do you come from…?�. The you in this particular case is Australian director and artist, Philippe Mora.

While the film is about his parents and their extraordinary story, especially during World War II, the film was also a revelation about Philippe himself and his very interesting career.

As a framework for the film, Philippe Mora is drawing panels for a comic book, one of his specialties, on the background, history and exploits of his parents, Georges and Mirka. We see the artist at work, the details of his painting so many panels (even to various daubs of mayonnaise). He also uses the device of having himself sit at a desk, rather in the dark, private eye hat, American accent, typing the story for a film noir which is how he sees much of his parents’ lives.

At the opening, there are home movies of the Moras on the beach at Aspendale. The family moved to Melbourne in 1951. It was assumed that Georges was French and it was only much later that it emerged that his real name was Gunter, that he was from Leipzig, that he was studying at the University, medicine, but escaped in 1933 from Hitler’s Germany to Paris where he lived the rest of the 30s, changed his name and identity in occupied France, escaped to the South and spent a great deal of his energy in aiding Jewish children to get out of France, working much of the time in collaboration with Marcel Marceau (even to their disguising themselves as nuns getting children to the Swiss border), who is Philippe Mora’s godfather. (Georges refused to speak German until towards the end of his life).

Mirka was younger, she and her sisters rounded up in 1942 but able to escape and taken in by a family and hidden in a French village until the liberation of France in 1944. With the emerging of the Cold War after 1947, Mirka decided that she did not want to live in Europe with the threat of war and so the couple moved to Australia where they raised their children, Mirka becoming a celebrity in the art world with her painting, her more than touches of bohemian behaviour, with Georges and Mirka opening a gallery, encouraging artists, and then moving into their celebrated restaurants. They separated in 1970. Georges remarried but died in the 1980s while, at the making of the film, Mirka was a vivacious 88, still painting and cooking.

There are plenty of home movies and clips, of scenes from films, including Philippe Mora’s portrait of the Third Reich, Swastika, interviews including a daughter of the French family who sheltered Mirka and her sisters, an American psychiatrist who is one of the children saved by Georges.

Philippe is a constant presence throughout the film, with some comments by his brother William. Audiences, perhaps not familiar with the fact that Philippe made several horror films including two of the Howling movies, will be more than startled when the film suddenly shows some horror and gore clips!

The film moves at a lively pace, is always interesting – and introducing some new aspect of the life of the Moras.

1. A Where do you come from story? Audience interest? History? Exploration of characters?

2. The range of settings, Hollywood, Leipzig, Paris and France, the countryside, southern France and the Swiss border? Melbourne over the decades? The visits to places for interviews, Philadelphia?

3. The editing, interviews, talking heads, home movie clips, movie clips, pictures…? Inserted into the film?

4. Philippe Mora, his search about his parents, and himself, his career, as a filmmaker, artist, documentaries, horror films? His creation of comics? His illustrating his comic style, the paints, the shapes and sizes, his comments? The end and the completion of the book?

5. The transition to Mirka Mora, 88, spacious, her memories, her art in Melbourne, her life in Melbourne, with Georges, with her sons? Her bohemian behaviour and attitudes? Cooking – and the mayonnaise?

6. Georges and his history, Gunter and his parents, Jewish background, in Germany, at the University, studying medicine, leaving Germany in 1933, going to Paris, his life there, the experience of the war and occupation, changing his identity, the organisation for the children, going to the south, helping the children to escape, the stories of Marcel Marceau and Georges and the Swiss border? Philippe and his visit to Henry Parens and his gratitude towards Georges?

7. Mirka’s story, her family, the many girls, in France, rounded up, the escape, the shelter by the Fournier family, for over two years? Part of the family? Philippe’s visit to Gisele, the pictures, her memories, not having seen Mirka again?

8. Jewish history, Germany, the rise of Hitler, the reality, the clips from Swastika – and the comment about the reaction at the Cannes Film Festival? The occupation of France, Hitler in Paris? The rounding up of children, their freedom? The concentration camps? The device of putting mayonnaise on documents and the German soldiers not wanting to get this on their gloves, not examining the documents?

9. The move to Australia, Aspendale Beach, home, the movies, the impression of each of the parents from the movies? Mirka not wanting World War three and so leaving Europe? Her art, painting, Georges and Mirka and the setting up of the gallery? The different restaurants and the reputation? Centre of this afterlife? The children and bringing them up?

10. The excerpts from Philippe Mora’s films, the horror touches with the Howling? The reasons for his interest in horror films?

11. The background of Marcel Marceau, his work during the war, the friendship with Georges, godfather to Philippe?

12. The success of the film as portrait of a family and of Philippe Mora himself?

PATERSON

US, 2015, 113 minutes, Colour.
Adam Driver, Goldshifteh Farhani, Barry Shabaka Henley,
Directed by Jim Jarmusch.

Most of us have never spent a day in Paterson, New Jersey, let alone a week. This film offers the occasion to make up for this never-had opportunity. This is precisely the framework of the film, seven days in Paterson.

Yes, there is quite an amount of routine, day by day, but this does not make it any the less interesting and entertaining. Actually, as the week goes on, we look forward to what each day will bring, anything new, variations on the old.

Patterson is also the name of the central character, a local bus driver, played at his best by Adam Driver. (He won the Best Actor award from the Los Angeles Critics.) He is a very good man, loyal to his work, engaged in the route his bus takes as well as the variety of passengers that he picks up and lets off. And, there are his colleagues at work, especially one pessimistic one whose domestic woes he listens to.

At home, there is his wife, who loves him, who sees him off and then she gets involved in a variety of activities at home, curtains, baking – and all with an emphasis, a high emphasis, on black and white, various designs, the contrast… She is played by Goldshifteh Farahani.

And Paterson has a dog, an English bulldog that he takes for its walk every night – or the dog takes him often enough. It is along the same streets, always ending up at the local pub for a drink, a chat, talk with the bartender, ward off the flirtatious drinker – and, later in the week, a disturbance by a man with a gun, with Paterson able to control him and be hailed as the local street hero.

However, what has not been mentioned yet is one of the most important things about him – he is a poet. He loves writing poetry. We might think that some of it is fairly mundane, but he takes opportunities in his spare moments, sitting at the wheel of the bus before he goes en route, at home, at his desk – and he has one special admiring fan, his wife.

One of the anguishing episodes of the film is his losing all his work because of his dog – but, he does lament for a bit, but is a hopeful man, encounters a little girl who has written a poem about a waterfall, encounters a Japanese poet – and is encouraged to begin again.

And that is what the end of the film does, each day has been captioned and, after the episodes of the weekend and the loss of the poems as well as the encounters, the title comes up on the screen: Monday.

This has to be one of the nicest, in the best sense of the word, films of the year that should have a wide appeal (except perhaps for too impatient diehard action fans!).

1. Paterson the character, Paterson the city? A New Jersey character? His story, a story of the city?

2. The city of Paterson, Main Street, the suburban streets, homes, shops, the bus route, Paterson’s daily walk? The bar? Interiors? The waterfall? An audience visit to the city of Paterson, experiencing it, knowing it? The musical score?

3. The importance of poetry, poems written by an ordinary man, poetry in verse? His experience, love of poetry, love of writing, the joy in his problems, the seemingly mundane subjects and yet his personal investment in them? Writing at home, his room, the desk, writing before taking the bus out, writing at the waterfall? His wife, her appreciation, wanting him to copy them? His notebook? The encounter with the young girl, her poem, Waterfall? The dog destroying his notebook, the experience of the loss of the book, his wife’s comfort? Meeting with a Japanese man? Creating again?

4. The structure of the film: the seven days of the week, going through the week, ending on Monday again? The ritual of waking, in bed with his wife, the two, looking at his watch, the consistency of the time of getting up, kissing his wife, the breakfast cereal? His rituals, route, walking to work, the bus station, the vignettes of the day, the range of characters, the same different? The fadeout scenes and close-ups for each day of the week?

5. The audience getting to know Paterson, his wife, the people in the bar, Marie and Everett, Doc and his wife? The dramas of life, especially in the bar?

6. The focus on Marvin, the bulldog, appearance, walks, growling sounds, sitting and staying, in the armchair, the run of the house, food, the savage reaction in destroying the notebook? The consequences?

7. The pessimist co-worker at the bus station? The range of passengers, Paterson listening, the conversations, the anarchists and their discussion, ordinary people, types, people getting on and off, the boys and the talk? The breakdown, the group on the footpath, reactions?

8. Paterson’s wife, a focus on black and white, the, the curtains, dresses, the icing on the cupcakes? Paterson’s response to his wife, endearing, enduring? Their urging him to photocopy the poems and his delaying to the weekend? The Brussels sprouts and cheddar pie and his drinking the water? Being at home all day, diligent? The cakes for the farmers’ market, sales, her taking her husband out on the town, dinner and the film, the horror touch in the past, the highlife? Her wanting the guitar, the cost, ordering it, the conversations about it, her learning to play, singing?

9. Paterson and his walk every night, with Marvin, going to the bar, the dog sitting or staying? Doc and his stories? Paterson, the beers? Marie, chatting, Everett and his reaction, the reference to Romeo and Juliet, Everett and acting, his declaration of love, Marie not interested, producing the gun, Paterson’s heroics, the toy gun? Doc and the complaints of his wife and her demands? Paterson meeting Everett in the street, friendly conversation? The other customers? The men in the car passing by and asking whether Marvin was a English bulldog?

10. Paterson’s meeting the little girl, her poetry?

11. Paterson after the loss of his poems, going to the falls, sitting and watching, the Japanese tourist, his poems, Japanese, Paterson denying that he was a poet, the Japanese man and his notebook, the gift of the empty book – and for Paterson to start again?

12. An audience appreciating being in Paterson, getting to know Paterson and his wife, and Monday morning again?

FRANCESCO, EL PADRE JORGE

Argentina, 2015, 104 minutes, Colour.
Dario Grandinetti, Sylvia Abascal.
Directed by Beda Docampo Feijoo.

With the popularity of Pope Francis very high all around the world, it was inevitable that there would be many film and television programs based on his life and his ministry.

This biography comes from Argentina, the country very proud of its Pope.

Most people had never heard of Cardinal Bergoglio prior to his election as Pope Francis in 2013, although he was listed as one of the possible popes at the conclave in 2005. There was talk about his way of life in Buenos Aires, working and being with the poor and, it was noted strongly at the time, that he travelled on public transport. But, in 2005 he went back to his Archdiocese.

This film offers viewers the advantage of understanding something of Jorge Bergoglio, gives background, his being a Jesuit, his work as a priest, as a bishop, as the Cardinal Archbishop of Buenos Aires. But, the film does this in a somewhat fragmentary way, moving from different times and different places to others, the dates and places up there on the screen to help the audience appreciate when and where.

By the end of the film, the audience has seen a great deal, even if the sequences are epsiodic, of the life of Jorge Bergoglio. The film highlights his grandparents coming from Italy to Argentina, his decision to enter the seminary and the protestations against this by his mother. His friends seem momentarily sceptical but then support him. On the human level, there is a sequence where he attends a wedding and is attracted to a young woman who is there, dances a tango with her at the reception, gives her a gift of a book and she gift of poems for him – but he never sees her again.

Not so much is made initially of his decision to become a Jesuit or of his Jesuit training but, later in the film, he quotes St Ignatius Loyola and the Spiritual Exerises quite a number of times.

There are many scenes of the priest and the bishop in ministry, comfortably mixing with everyone, conversations in the street, sharing meals, supervising at a school, concerned about drug problems, encouraging the clergy to minister to the poor as he does. The film does give a credible sketch of Jorge Bergoglio, always wanting people to call him simply Father Jorge, even as a bishop. This sketch of his ministry includes the issue of his support or non-support of fellow Jesuits tortured at the time of the Generals, an interview seeing him pleading for the priests. There is also a sequence with a politician who asks him to tone down his utterances and concern for the poor.

One framework for this film is a focus on a fictitious journalist (based on a journalist who did write his biography).who was sent to cover the 2005 conclave for her paper, meets Cardinal Bergoglio who gives her personal advice about her pregnancy, who continues the friendship (even to the baptising of her daughter even though she is an agnostic) and the death of her mother (and, actually, a scene with the Cardinal helping the daughter scatter the ashes in a river).

The actor playing Cardinal Bergoglio is the Argentinian Dario Grandinetti. He is an imposing figure, despite his continued limp, bringing to life the man who was to be Pope. However, the limitation in his performance is that he seems to be ultra-serious, not displaying an immediate charism, rarely smiling – and this proves quite a contrast when the film includes the actual Pope Francis at the end, a much warmer, smiling, embracing character than what we have seen.

The film does incorporate a lot of the words of the future Pope Francis about simplicity of life, on the role of a bishop, not seeking preferment, and, in a scene where he gives an address to the Cardinals in 2013, a reference to evangelisation in “going to the existential peripheries� of the world.

There have been several documentaries, course, about Pope Francis including an Italian film, Chiamatemi Francesco/ Call Me Francis. Youtube indicates that this Italian film as well as the Argentinian film are due to be available on January 7, 2017.

1. The reputation and popularity of Pope Francis? His impact? Audience interest in him and his life, Catholic? Non-Catholic?

2. A film from Argentina, admiration for the Pope, his place in Argentinian history, social life and work? Pride in the Pope?

3. Buenos Aires, its past, the boyhood of the Pope, years in the seminary, attending the wedding, his work as a priest, sacramental, preaching, social, problems? The military? The politicians? The Archbishop and his work, the school, drug problems, clergy? The status of the church?

4. Rome, 2005, the conclave, the Sistine Chapel? The return in 2013, the journalists and their discussions, restaurants? The conclave, the election? The musical score?

5. The final insertion of sequences of Pope Francis himself, his impact, the new era of the papacy?

6. Dario Grandinetti as Pope Francis, serious, not particularly charismatic in himself or his communication? Rarely smiling? The contrast with the added footage of Pope Francis himself, with people, smiling, embracing, charismatic?

7. The structure of the film, the movements throughout different times, glimpses, dates and places on screen? Familiar sequences, unfamiliar, snippets? The cumulative effect?

8. Jorge Bergoglio as young, from an Italian family, his grandparents, his relationship with his mother, her adamant stance against his vocation? His decision, the discussions with his friends, their initial laughter, their support? The St Francis book? Years in the seminary, spirituality? Attending the wedding, attracted to the young woman, dancing the tango, exchanging poems and novels? His ordination and his mother asking his blessing?

9. The outline of his ministry, always been known as Father Jorge, a Jesuit and his frequent quotations from St Ignatius Loyola, at the school, his relationship with the kids, the staff, his ability to mix, humane, a man who hugged and touched, shared grief? The issue of the generals and the torture of the Jesuits, the criticisms, the journalist and her investigations, his interviews, the reaction of the priests themselves about his getting them out of the country? The political interview, the politician asking for moderation? His ecclesiastical status, as a cardinal? His use of public transport, people admiring him, stopping him for conversation, his masses, his sermons, the focus on Jesus as inspiration?

10. Ana, the framework of the film, her getting to know the Archbishop, the discussions, her covering the conclaves, personal, issues, her writing? A fictional representation of the actual author of his biography? In herself, going to Rome, her partner, the issue of abortion, her pregnancy, her discussions with the cardinal, his supporting her having the child? The discussion about candidates, the election of Cardinal Ratzinger? The years passing, the birth of her child, her mother coming from Spain, the background of the tango, present at the baptism? The meals discussions? Her death, cremation, the Ashes in the river with the wreath? The range of meetings, ideas, discussions?

11. The 2013 conclave, the Cardinal’s address to the conclave participants, his urging people to be out in the peripheries? The influence of his talk? Candidacy at the previous election? Discussion about numbers of votes? His being elected? His friendship with the Cardinals, greeting them, discussing the medical situation with the other cardinal?

12. The election, his acceptance, wanting his own shoes, the garb, his greeting people, the people of Rome? In the aftermath and the personal touch with his phone calls?

13. The film as helpful in giving a background to the life and work of Cardinal Bergoglio?

INTO THE BLUE

US, 2005, 110 minutes, Colour.
Paul Walker, Jessica Alba, Scott Caan, Ashley Scott, Josh Brolin, James Frain.
Directed by John Stockwell.

In the 1950s, a popular genre of action films was that of the deep sea diving thriller, with titles like Beneath the Twelve Mile Reef. Here is a contemporary version of this genre with popular star, Paul Walker (The Skulls, The Fast and the Furious) instead of Robert Wagner. Jessica Alba is the principled heroine and Scott Caan, the friend with selfish motives and slippery moral judgements about salvaged goods. The temptation for him is that the treasure is a huge cache of drugs. Director is former action actor, John Stockwell (Blue Crush).

There is lots of underwater photography as the young cast scour the waters for a Civil War ship and as they deal with the drugs. The sleazy villain is British actor, James Frain, but there is also an American villain (who outsmarts the British) played by James Brolin.

There is very little one can say about this kind of film. It aims at its younger niche market. It features personable and attractive (looking) stars. It does, however, take on a moral tone to show that greed and money are not everything and that we can be satisfied with self-respect and love. And who can quarrel with that – even if they do ultimately become millionaires because of their honesty!

1. Popular story for young viewers? The Bahamas? Diving, wrecks, underwater photography? Some melodrama and romance?

2. The Bahamas settings, the island,, the boats, at sea, underwater, the plane and its crash, the pirate ship and the salvage? The musical score?

3. Familiar ingredients for this kind film? Strong hero with integrity? Glamorous girlfriend with integrity? Callow friend, self-seeking and amoral? Glamorous girlfriend? Colombian drug traffickers? American partners? Local help?

4. Gerald, his work, pushing the man overboard, being fired, want to go out on his own? Sam, who work with the fish? Girlfriend? Glamour? Their work together, hopes? Bryce coming, is lawyer background, defending criminals, not revealing he was broke? Amanda, the glamour token? Out on the water, diving?

5. The possibility of the discovery of the pirate ship, regulations, notification? Sam and her strong stance?

6. The discovery of the drug plane, and with the drugs, Jared and Sam and their opposition? Bryce, his plans, saying everything was simple?

7. Bates, his boat, his work? His men? The local authorities in his pocket? Collaboration with Colombians? His killing the Colombians? Wanting the information from Jared, holding Sam?

8. Bryce and Amanda, getting the drugs? Amanda and the attack, her death in hospital?

9. Bryce, callow, trying to make things right? With Jared and the destruction of the drugs?

10. The discussions about the pirate ship, the background, the relics? Bryce offering them to Bates?

11. Jared, is planned, wanting $30,000 from Bates? Is going into the water, the destruction of the drugs? Bates, diving in his pursuit? The underwater fight, exploding the ship?

12. Later, finding the pirate ship, but Jared and Sam satisfied with their integrity and with one another?