THE MENKOFF METHOD

Australia, 2016, 87 minutes, Colour.
Noah Taylor, Lachlan Woods, Jessica Clarke, Robert Taylor, Catherine Mc Clements, Andrew Ryan, Mal Kennard, Olga Makeeva, David Whitely, .
Directed by David Parker.

The title does not give very much away except for the overtones of something Russian with the name, Menkoff. But, who is he and what is his method?

First, this is an unusual Australian film, Melbourne film – and, more’s the pity that its marketing budget was minuscule so that many people who might have enjoyed it did not get the opportunity to know about it and see it.

The filmmakers have had some great brainwaves. They have taken a banking story, a bank in decline, needing some kind of renovation in its management, with machinating underlings and the standing down of the CEO, a ruthless takeover bid and its consequences. But, the makers also have a love for Manga stories, the Japanese graphic novels, vivid cartoon panels, action heroes and heroines, dastardly villains, and intrigues, and with plenty of touches of super-heroics.

And, they have combined the two strands, blending the two stories very nicely, often unexpectedly.

The central character is a bespectacled nerd, David, looking very much like Clark Kent, who is a data processor for the endangered bank, but spending most of his time at work finishing his Manga book for a competition in Japan. His heroine is called Foxy Chaos and, to his surprise, when he goes to a club with his workmate Gary who fancies himself as a singer but even gets kicked out from his karaoke performance, David sees Ruby in the costume of as Foxy Chaos – and, as she hurries away, she loses one of her shoes!

Back to the title. Max Menkoff is a Russian, already pursued by armed killers from Mongolia where he had attempted a bank takeover, who goes to Dubai to tempt an executive for a takeover – and take over he does. He is accompanied by Svetlana, tough and hardy Russian, and Karpov who is tough but somewhat distracted. Max is played intensely by Noah Taylor, creased face, scruffy beard, broken Russian accent – and capitalising on his experience during the times of the Soviet Union in turning workers into loyal robots for the company.

Lachlan Woods and Jessica Clarke as David and Ruby make quite a couple, he gawkiness personified despite his Manga skills, she an attractive ally. And there are various Australian character actors there in supporting roles including Catherine Mc Clements as the straitladed supervisor, Robert Taylor as the CEO and John Brompton as a security man.

It is hoped that this review/description captures a bit of interest so that it sounds tantalising and that this offbeat film might sound worth checking out. A small film, but quite amusing in its way.

The film was directed by David Parker, cinematographer, especially for his partner, Nadia Tass.

1. An entertainment? Imaginative? The target audience – those enthusiastic about Manga, comic books, graphic novels…?

2. An Australian production, ideas, the city of Melbourne, the streets, the bank, shops for comics, the interiors of the bank? The cast?

3. The idea: a story of banks, their failures, poor management, ambitious executives, meetings, international connections in Dubai? Bank takeovers? The role of the Russians, the parody of the Soviet Union, turning people into robots? Deals, finance, insurance policies? The planned destruction? And the parallel to the collapse of the Soviet Union?

4. The importance of Manga in Japan, popularity, the types of characters, Foxy Chaos and her work, activities, peace and harmony in the universe? The visuals, the drawing, cartoon style, vivid, colourful? The insertion of drawings and animated action into the film? Heroes and villains? Foxy? The dark powers and the influence? The insertion of the dog? David and his comic books and the stories?

5. The interconnection between the two diverse themes – and the effect on the audience?

6. David, waking, the nerd, his mask, his life and his being gawky, going to work, continuing his drawings, wanting to enter the competition? Gary and his distractions? The
admiration for the girl and giving him the biscuits? The interlude with Trevor, mad, wanting his desk back, the gun, David offering him the biscuits, his being taken, David as hero, Marjorie and the request for Japanese pens? Going with Gary to the club, seeing Ruby, the attraction? Gary, singing and booted out? Ruby in the costume of Foxy, losing her shoe – and the touch of Cinderella? David going to her house, returning the shoe, the attack by Jason and the dog – and David later learning that Jason was her brother?

7. Max Menkoff, Noah Taylor, his look, face and scars, beard, his accent? The swindle in Mongolia, the Mongolians pursuing, the attack in Dubai? His wanted to take over the bank, the plan for control, spiking the water coolers, everybody injected, turning into robots, their marching, the drills, the songs, the loyalty to the firm? Marching to work, at their desks? Exaggeratedly entertaining?

8. Guy, wanting power, the clash with the boss, the board meetings, the boss being ousted? Guy coming in as the boss? Max and the interview in Dubai, the Power Point, the plan? The CEO and his being exiled, the severity of the chairman of the board? Max, the nature of his control, his decisions?

9. David and Marjorie, Marjorie and her work, everything in order, her being fired, her demanding consent for the injection, her love for her dog, the interview with David, the confrontation with Karpov?

10. David, hiding, the shootout, Marjorie’s death? The Mongolian attack? David taking the dog, feeding it? Pretending to be robotic? With Ruby? Her visit to the boss, his not
wanting to be seen with her?

11. David and the codes, Ruby wanting his help, going to Gary’s computer, the confidential information? Ruby and David going to see the boss, his agreeing to collaborate?

12. Svetlana, her role as assistant, hard, gleeful in control, her torturing David, the irony of her being electrocuted?

13. Karpov, henchmen, his interest in the comic, the ending, his shooting, seeing the dog as a spy, the irony of his being run over?

14. The CEO, disguised as a worker, to get the antidote, in the safe and security, the men, taking the van, running over Karpov, David using Max’s voice to get the workers out of danger? Max, the protective suit, wanting to poison the system? His ordering the workers back in? Overcoming Ruby and injecting her?

15. The buildup to the fight, the antidote, Ruby back to normal, her martial arts skills, with Max? The Mongolian attack? The falling on to the lift, David and Ruby going down, Max and the Mongolian falling?

16. Everybody restored, David and Ruby kissing, going to Japan, the Manga master and his acceptance of the book, the happy ending?

NOCTURNAL ANIMALS

US, 2016, 117 minutes, Colour.
Amy Adams, Jake Gyllenhaal, Michael Shannon, Aaron Taylor- Johnson, Isla Fisher, Ellie Bamber, Armie Hammer, Karl Glusman, Robert Aramayo, Laura Linney, Andrea Reisborough, Michael Sheen.
Directed by Tom Ford.

This is a different kind of drama/ melodrama, two stories intersecting throughout the film.

(It is true that some audiences thought this was a nature film, an error something akin 50 years ago to people thinking that Midnight Cowboy was a Western!)

The film has an arresting, if disturbing, credit sequence, with a number of large portraits of calypagous women, many of rather vast proportions, naked, perhaps suggesting to audiences that this is what the title meant. But it leads into the character of Susan, played by Amy Adams, who is a gallery curator and this is one of her exhibitions. She is a tense woman, with insomnia, concerned about her husband (Armie Hammer) who seems to be away on business a great deal. She receives a package, the manuscript of a novel by her former husband and she begins to read. And the audience begins to see the dramatisation of this novel – which is called Nocturnal Animals.

We later learn that Susan and Edward, the author of the novel, shared interests and love earlier but Edward was a soft man and Susan are hard woman, especially in the vein of her snobbish mother (Laura Linney in a very effective cameo role) and the two parted.

One of the features that makes the film dramatically arresting is that Jake Gyllenhaal plays Edward in the flashbacks but also plays Tony, the husband in the novel. the performances consolidate his status as a strong actor.Truth be told, at least for some audiences, the dramatisation of the novel is far more interesting than Susan’s sleepless nights and her personal dilemmas.

The novel and the film takes us on to the back roads of Texas, a family going on vacation, father, mother (Isla Blair) and daughter (Ellie Bamber). They are minding their own business, the daughter, of course, preoccupied with social media. A car ahead on this open highway begins to play chicken games, slowing down, speeding up, but it all becomes worse when the petulant girl gives the driver of the car the finger – and what consequences for the simple giving the finger!

As we stay with Susan, sharing her memories, her relationship with Edward, with her mother, we keep hoping that she will pick up the manuscript again and continue reading. But, things become worse, the louts in the car, led by very surly and arrogant Aaron Taylor- Johnson, attack the family, abducting the wife and daughter, abandoning the father. We wonder whether the worst can happen – and most of it does.

As the novel continues, we are introduced to a local detective, played very effectively by Michael Shannon in his typically menacing Michael Shannon style. He is after the criminals, enlists the help of Tony to identify them, is on the lookout for their further misdemeanours, which brings up an even more dramatic climax, complicated by the physical condition of the detective who, because he has the cancer already, doesn’t have to give up his cigarettes.

While the novel within the film does have an ending, the film itself does not, Susan still having to make decisions about her life. Interestingly, the original novel is actually titled Tony and Susan. The parallels between Edward and Tony are worth considering.

The film is directed by fashion designer Tom Ford, is only of the film was another striking drama, A Single Man, with Colin Firth.

1. The title? Of this film? Of the novel within the film? Meaning? The original novel called Tony and Susan?

2. An LA story, a Texas story? Art world and the gallery, offices? Affluent homes? Texas, homes, college? The novel visualised, West Texas, the vast roads, the desert, night, cars on the highway, Huts and locations? Police precincts? The musical score?

3. The director, his career as a fashion designer, interest in art? The visuals of the film – the colours and vistas of clouds and sky? The credits, the women, the niches and displays, the Art Gallery?

4. Susan story: the credits, her work at the gallery, the staff and board at the gallery, the types at the social? The home? Hutton and his attitude? His going to New York, no phone call, floor 31, Susan’s suspicions? Susan, her friends, the friend with the psychic advice, her gay husband? The party? Susan alone at home, the servants, unable to sleep, the package with the novel, her reading it?

5. Edward, his novel, the dedication to Susan? The flashbacks? His writing, her art studies, meeting in New York, the dinner? Susan’s mother, her dominance in warning her? That Edward was weak? Susan’s counter that he was sensitive? The issue of her gay brother and her mother’s silence? Edward, his writing, focusing on himself, Susan’s reaction, urging him to go beyond, the attraction to Hutton, Susan leaving Edward? His comment that she was like her mother? Her feelings of guilt about leaving Edward? Her reading the novel, the story of the attack on the daughter – and her phone call to get reassurance?

6. Susan at the board meetings, issues of hire and fire, the other members of the staff, their style, fashion? The effect of reading the novel, at home, the bath, the rain? Edward’s email, the plan, her presence, drinking, his not showing up? Her being left with her regrets?

7. The film bringing the novel alive, the car, the family, relationships, the daughter and her texting? The night, the cars blocking the way, the daughter giving the finger and its consequences? The brutal story? The men, pursuit, forcing Tony off the road, the leader, arrogant and sexist? The confrontation? Tony and his reaction, backing down? The daughter and her aggression, her mother’s concern? The police passing by? The sense of menace? The men changing the tire, forcing the wife and daughter into the car, Tony travelling with Lou?

8. The audience identifying with the characters, the situations, the fear? Effect on Susan reading these pages, the return to seeing her at home, her reactions? Jake Gyllenhaal as both Edward and Tony, the different characters? The similarities? Susan’s relationship to Edward? Her response to the Tony of the novel? The sensitive father, suffering, anguish, bewilderment, hiding from the pursuers? Wanting vengeance?

9. Tony abandoned, his walking, the car returning and calling for him, his hiding, people passing on the highway, the police?

10. Bobby, Michael Shannon and his style, his work as a policeman, detective? His interviewing Tony? Retracing the steps, finding the bodies, dead, their fate? The photo and Tony not identifying the man? Time passing, Bobby’s phone call, robbery, Tony at the lineup, identifying Lou, his denials? The news about Ray, tracking him down, his sitting on the toilet, his arrogance, the scene, his being taken, his denials, the interrogation in the car, returning to the site, Tony desperate?

11. Bobby, the news of his cancer? The DA and dismissing the case? His decision, wanting justice, nothing to lose? Calling Tony, asking him about his vengeance? Confronting Ray, Lou and Ray together, the gun, Bobby shooting Lou? Ray and escape, return to the hut, Tony finding him? Ray and his rationale for his brutal behaviour, his arrogance? The gun, his getting the iron from under the bed, his attack on Tony, his being shot? Tony as blind, wandering out to the road?

12. The ending of the novel, the effect on Susan? The end of Susan story – and her future?

SUCKER

Australia, 2015, 87 minutes, Colour.
John Luc, Lily Sullivan, Timothy Spall, Jacek Koman, Shawn Micallef, Kat Stewart.
Directed by Ben Chessell.

Sucker is a small-budget Australian comedy, written by Lawrence Leung, based on a one-man comedy routine that he created in 2001. Leung himself appears as the uncle of the hero and in framing sequences as the older version of the hero.

This is the story of a young Chinese-Australian? from Melbourne who does not want to do what his ambitious parents want, is fascinated by con-tricks and follows the Professor, a master of all kinds of cons, who takes him on as something of an apprentice. The Professor is played by British actor, Timothy Spall, enjoying himself with a touch of overacting. The young man is played by John Luc.

Also in the act is the Professor’s daughter, Lily Sullivan, and, later, the Professor’s nemesis, Riley, played by Jacek Koman who went off with the Professor’s wife, Kat Stewart.

The action takes place over the Australian countryside, in country towns, with people susceptible to con tricks, several of which are illustrated, one in a store which sells LPs where the manager is played, humorously, by Shawn Micaleff.

The film builds up to a dramatic climax, familiar from those stories about gamblers, and a bittersweet ending with the young man, the professor, his daughter and going back home to his family.

More of a pleasant time passer though interesting in having Chinese Australians at the centre of the film.

1. A comedy about con-men? And serious undertones?


2. The Melbourne settings, suburbs, roads, casino? The Australian countryside and country towns? Open spaces? The atmosphere of the country? The musical score?

3. The title, people taken in by the cons? The cons themselves, their victims?

4. The film based on a one-man show, the creator taking the part of Lawrence’s uncle – and the older bearded Lawrence framing the film?

5. An emphasis on Chinese- Australians? Not much seen in Australian comedies like this?

6. The introduction to Lawrence, the older Lawrence explaining, his voice over about his experiences, the explanation of the cons, the illustration of the popular three card con? Lawrence, 17, at home, the pressure from his parents to do well, his reactions, his capacity for telling lies? His going on the road?

7. His encounter with the Professor, the personality of the Professor, age, experience, from England? The background story of his relationship, his wife, her pregnancy, the
birth of her daughter, the photos of the family? Her leaving with the Professor’s best friend, Riley? The Professor and his career, his explanations of the variety of cons, their names, the steps, the information coming on screen? His invitation to Lawrence? Illustrating the cons? His asking Lawrence to participate, the young girl and the wallet – and the revelation that she was the Professor’s daughter?
8. The daughter, her age, her treatment of Lawrence, friend, not? Difficulties in believing her? On the road, the variety of tricks? Illustration of the Badger, her going to the room with the client, the father coming in, the client paying big money? The irony of Lawrence seeing her with the young man in the alley – but a genuine friendship and his punching Lawrence?

9. The variety of cons, that of the necklace, the greedy people in the pubs, paying for the necklace, losing their money? Lawrence and his trick with the LP, the manager of the shop, his buying the extra LPs, the alternate person behind the counter, Lawrence and his pretending to be Japanese, rescuing his girlfriend, the failure of the con?

10. The buildup to the competition, the background story of Riley and the Professor’s wife, visualised?

11. At the casino, the professor proving that Lawrence wanted to be there and did not go home, Lawrence’s encounter with Riley, Riley knowing all the tricks?

12. The special game, $10,000, the man being eliminated, the competitor and his complaint about cheating, Lawrence beating Riley, the money?

13. The double ending and the con, the outlining of the steps? The daughter, with Lawrence in the car, the letter, his going into the Professor, the Professor saying the letter was for him, reading it, the girl going off? Lawrence giving the Professor Chinese Lucky money? The alternative scenario, the Professor reading the letter to Lawrence, Lawrence keeping the money, the Professor all right for money? His daughter standing on her own feet? Lawrence acknowledging that the girl was Riley’s daughter not the Professors?

14. Lawrence, going back home,? And the older Lawrence looking back on the experience?

15. The two actors seen in the studio, on the set, talking with each other, walking off?

NINA FOREVER

UK, 2015, 98 minutes, Colour.
Cian Barry, Abigail Hardingham, Mandeep Dhillon.
Directed by Chris Blaine, Ben Blaine.


Nina Forever is a fantasy for specialist tastes, a ghost story, a sexy ghost story, with an emphasis on very sexy. It won quite a number of awards at festivals which include after dark or underground… in their titles.

The film opens with a very long take of a car accident and somebody gradually rising from the road.

Then the film transfers to a story about Holly, studying to be a paramedic, rather earnest in her work, in a tangled relationship with a young man and breaking it off.

Part time she works in a supermarket and is attracted by Rob, an overqualified shelf stacker who gets into a fight with the supervisor. They talk, are attracted, and begin a relationship.

And that is where the trouble starts. Every time they have a sexual encounter, blood starts to appear and then Nina, Rob’s former girlfriend who was killed in the accident, appears covered in blood, naked, interfering all the time, insinuating herself into the relationship, with Rob as well as with Nina. There is a lot of cleaning up of rooms, scrubbing walls and mopping floors and putting bloodstained sheets and clothes in bins! And there are some kinky moments with tatoos from printing press sets.

This particular procedure is repeated many times, Holly getting exasperated, agreeing to go with Rob to Nina’s parents for a meal – and some background to Nina’s parents, the father taking off time to write a novel (not very good at all) and the mother wondering whether she could walk out after 30 years. Eventually, Rob has a meal with them and the parents turn on him telling them how much time and energy they have given to help him overcome Nina’s loss while they resent the fact that he has lived.

Holly tries to take on with someone else – but Nina appears, as she does when Holly and Rob go to a holiday house for a quiet weekend.

Holly does good work as a paramedic, comforting a wounded woman and keeping her alive. Rob keeps revisiting Holly.What will happen? Probably only those who have really been absorbed by this film will wonder.

THE AGE OF SHADOWS

Korea, 2016, 140 minutes, Colour.
Byung hun Lee, You Gong, Kang-ho Song.
Directed by Kim Jee-woon.


In recent years the Korean film industry has produced a number of films about the 1920s and the 1930s, The Last Princess, Handmaiden. It is the era of Japan’s colonial occupation of the Korean Peninsula and a spirit of Korean revolt.


Intending audiences would find it helpful to do a bit of research about this period, the arrogance of the Japanese domination, the spirited feeling of the Koreans, the role of the Chinese, especially during the 1930s.

This is a film with touches of espionage, opening with an attack on an art dealer and the arrival of troops, killings, arrests, torture and an introduction to what might be called the Korean Underground of resistance.

At the core of the plot is a plan to ship arms by train from Shanghai to Seoul, a group of fighters, men and women, involved – with the discovery that one is a traitor. Much of the action is on the train, the tensions with the leader of the group and the rest of the fighters, organising a test with differing pieces of information so that whoever is betraying the group will be revealed.

There is another complication that one of the earlier members of the resistance is now a respected policeman, working with the Japanese authorities, tested again about his loyalties to his commanders and his loyalties to Korea and to his earlier comrades.

The film is quite long but keeps the attention, the search for the betrayer, the role of the policeman, even to his being tested by his willingness to torture some former colleagues, and the buildup to assassination attempts.

The film recreates the period in costumes and decor, has quite an eclectic musical score which creates many different atmospheres, from classical music to electronic music – and the use of Ravel’s Bolero for a climax to the action.

The central actor, Byung-hung Lee was one of the recent Magnificent Seven.

Certainly of great interest for a Korean audience, those familiar with Korean history – but also for those who want to know about the history of Japan, Korea and China in the early part of the 20th century.


1. The title, the period in Korean history? The 1920s and 30s? Korea and is loss of independence? The Japanese domination and colonial control? Action in Shanghai, the role of China?

2. The recreation of the period, the cities, the countryside, the train and its journey? Costumes, decor?

3. The musical score? The intensity of the background electronic music, notes, cords, atmosphere? The use of a range of songs, from popular American to local? And the effective use of Ravel’s Bolero during the shooting?

4. Audience knowledge of this period, the role of the Japanese, the impact on Korea, the desire for independence, foreign rule and revolt? Revolutionary movements? Oppression and suppression, the use of cruelty? The issue of Korean identity?

5. A film about espionage, resistance – and echoes of so many western films dealing with war and resistance? The dark tone, the title and the dark shadows in the cover photography?

6. A film about patriotism, moral dilemmas, loyalty?

7. The initial setup, the agent, the discussions with the dealer, the statue, the importance of time, the authorities gathering, the police? The attack, deaths, escapes and pursuits? The morale of the revolutionaries? The irony of seeing the dealer again at the end, his betrayal, his death as an execution?

8. The role of the policeman, his being part of the resistance, his now belonging to the police with loyalty to the Japanese, his moral dilemmas? His relationship with the leader of the resistance? Giving him information? The transporting of the explosives from Shanghai to Seoul? His relationship with Higashi and with the agent, Hashimoto? Hashimoto, sinister, committed, the search, his death? The policeman covering himself? Yet the dangers? The final confrontation? His deceit of the Japanese? At the reception, everybody present – and the explosion? His role in torture, the young woman and his having to exercise the torture? The leader and his arrest, imprisonment, interrogation – and the policeman and his ultimate loyalties and survival?

9. The leader of the resistance, his cover, art? His relationship with the woman, her role in the revolution? The range of his connections, allies? The team, the discussions about the mission, plans? The authorities getting information? Traitors?

10. The plan, the explosives, the cases, transporting them, evading detection, the disguises? On the train? Hashimoto and the search? The policeman and his helping, information, deflecting information to the authorities? The decision on the train, each member of the team being given a different arrival time and place? The discovery who the traitor was, closeness to the leader, his explanations of motivation, his being shot?

11. The arrival of the explosives, their safekeeping, the house, the countryside? The siege of the house? The leader and his being taken prisoner? The woman and her arrest after the police and authorities were at the railway station?

12. Torture and interrogation, the cruelty, harshness, the burning of the woman’s face? The policeman and his being forced to take part in the torture?

13. The leader, his being taken, the arrest and torture?

14. The explosives, the Japanese and the authorities or gathered together, the explosion?

15. And the survival of the policeman – and the continued operation of the Koreans into World War II?

ALLIED

US, 2016, 124 minutes, Colour.
Brad Pitt, Marion Cotillard, Jared Harris, August Diehl, Simon Mc Burney, Matthew Goode, Anton Lesser.
Directed by Robert Zemeckis.

The whole world knew what was happening in Morocco in 1942, the German occupation, the French expatriates, the espionage and what was happening at Rick’s in Casablanca – with the Oscar-winning film of 1943, Humphrey Bogart and Ingrid Bergman and all the sundry and shady characters in that film.

Over 70 years later, here we are again, in a big budget, one might say old-fashioned, drama and melodrama, colourful, and with two popular stars, Brad Pitt and Marion Cotillard. However, Ingrid Bergman and Paul Henried got on the plane at the end of Casablanca and went on to new adventures which the audience had to imagine. After the episode in Allied, the action transfers to London, London at the time of the blitz, quite vividly re-created.

We get into the mood of things with Max, Brad Pitt, parachuting into the desert, picked up, driven to the city, cheerfully meeting up with his wife, Marianne, Marion Cotillard dissembling with great aplomb, creating the cover for a husband-and-wife team who are there for an assassination attempt – rather spectacularly carried out at a political social, the fake husband-and-wife in tuxedo and evening gown, machine guns blazing.

So, introductions, action, touches of romance – and Max, the Canadian Wing Commander, back to London for a desk job but also applying for Marianne to come to London, her security credentials checked, so that he can marry her.

Touches of the blitz, Max visit the office under the supervision of Jared Harris but a happy home life, and the birth of a daughter.

Then comes more melodrama, accusations that Maryanne is actually a German spy, that Max is to investigate her, set a trap for her and, if she is guilty, execute her. So, a lot of tension building up in the house, Maryanne puzzled, and makes doing a whole lot of brooding – and taking the suspicions into his own hands, even to commandeering a plane, flying to the French coast, collaborating with the Resistance to interrogate one of their members and coming under fire from the Germans.

While this is old-fashioned romantic style film on the grand scale, the outcome is not exactly what might be predicted, though many audiences would have been happy with a predictable ending – critics not!

Marion Cotillard is a strong and sympathetic screen presence. Brad Pitt is romantic but rather stiff upper lip. Direction is by Roberts Zemeckis who has had an interesting career with a range of films from Who Framed Roger Rabbit to his Oscar for Forrest Gump.

1. A World War II story? Popular story, style? Variation on Casablanca themes?

2. The strong cast, the director?

3. Costumes, decor, re-creation of the period, the British locations, the French resistance locations, London offices, espionage? The musical score?

4. Morocco, the desert, Casablanca, the city, homes, German occupation, parties?

5. Espionage, World War II, the mission to assassinate in Morocco? Spies, marriage? The accusations, presumption of guilt, the deadly situation? The credibility of the plot?

6. Max, parachuting into Morocco, the desert, the car, his cover, meeting Marianne, her aplomb, the cover, going to the house, on the roof, pretending to be husband-and-wife, the bond between them, the sexual encounter? The socials, meeting the Germans, going to the official, getting the invitation to the party? The plan, the timing, the weapons under the table, socialising, the ambassador arriving, the shooting, the number of deaths, the escape, success of the mission?

7. The transition to London, the atmosphere of London during the war, the Blitz? Frank and his command, Max as the Canadian Wing Commander, the permit for Marianne to come to England, the security check, her identity? Her arrival, the wedding, the house, happiness, the work, her pregnancy, giving birth? The social life, friendships?

8. Max and his work, away from home? The planning of the party, the neighbours? Putting the little girl in care, the woman looking after her? The jeweller and his offers?

9. Max being summoned, the official interrogation, the harsh comments, the issue of Marianne as a spy, her identity? The plan with the message, the tension for the phone call, Max leaving the note, the deadline? Frank emphasising the seriousness? The effect on Max?

10. Max at home, Marianne and the puzzle, the message, the party?

11. His visit to the friend in hospital, the discovery that he was blind and could not identify Marianne?

12. The suggestion of the resistance man in France, Max tearing the photo, giving it to the pilot, the pilot, his apprehensions, his death? The dim view of Frank and the authorities?

13. Max, during the plane, going to France, dropping the weapons, the resistance personnel, going to the prison, the man drunk, the guard and his fear, the prisoner identifying Marianne, but mentioning the piano and her singing La Marseillaise, the guard, betrayal, the attack, the resistance and the shooting?

14. Max and Marianne, talking, his urging her to play the piano? Confessing the truth, the Germans and their hold over her, the threat to their daughter? Her passing on the messages?

15. Max going to the woman who cared for the baby, her being an agent, shooting her? The jeweller and his death?

16. The plan for the escape, going to the airport, in the car, Marianne leaving the baby? Frank and the officials arriving? Marianne, contemplation, killing herself, the note that she left? Frank saying in the report that Max had executed his traitor wife?

17. Max and his talk about peace, Medicine Hat, the epilogue with the images of Max and his daughter?

ALL ABOUT LILY CHOU-CHOU/ RIRI SHUSHU NO SUBETE

Japan, 2001, 146 minutes, Colour.
Directed by Shunji Iwai.


Lily Chou Chou is a fictional rock singer in this Japanese film about contemporary youth. The film is not about her. Rather, it focuses on a shy young boy, Hasumi, who is her greatest fan.

He is a loner, absorbed in the internet world and his chat room. At school, he is bullied. When he meets a like-minded friend on the internet, he begins to come out of himself, only to find that his friend is a cruel arch-manipulator who destroys the lives of several of his classmates.

The film moves like a dream, a mixture of realism and stylised fantasy reflecting Hasumi's perspective. While some sequences are lyrical, others portray teenage viciousness and violence in an alarming way.

The film is almost two and a half hours long which gives the audience plenty of time to get to know the characters, try to understand them and to puzzle over what it is in contemporary society, in both east and west, that produces such bullying and victimisation.

HAPPY TIMES

China, 2002, 102 minutes, Colour.
Benshan Zhao, Jie Dong, Lifan Dong.
Directed by Zhang Yimou.

During the 1990s, Chinese master director, Zhang Yimou, made a series of films with Gong Li that were masterpieces of film-making, amongst others Raise the Red Lantern, The Story of Qui Ju, To Live, Shanghai Triad. He then moved to more modest stories, Not One Less and the moving The Road Home. Most of these films won international festival awards. This will not happen with Happy Times. It has a modern Beijing setting and tells a story that we are more used to seeing as a telemovie. Not that it is not entertaining. It is a mixture of raucous comedy and sentiment and tears.

The central character is a retired factory worker who becomes engaged to a large and dominating widow. In the meantime, he has a brainwave to turn an abandoned bus into a rendezvous for young lovers, The Happy Times Hotel. When the authorities remove the bus, he agrees to give a job to the widow's blind stepdaughter but has to pretend, getting his fellow retirees pretend that they are clients for her massaging. The core of the film is the friendship that develops between the girl and the old man, but it also takes the opportunity to raise issues of unemployment and poverty in today's Chinese cities. While it is often feelgood, there is a melancholic tone and we know that fate will not allow these two characters a happy ending. Dong Jie, like Gong Li and other actresses before her, gives a very attractive performance. Zhao Benshan is a well-known Chinese comic. Happy Times is modest and low-key Zhang Yimou.


1. Chinese film of the 21st century? Changes in China, society, ideologies for the 21st century?

2. The work of the director, his classics of the 80s and 90s, his moving into martial arts films after this film? The modesty of this film, small, smaller characters, local settings?

3. Beijing, the locations, the city, the poorer areas, the bus, the dilapidated building, homes? Musical score?

4. The retired factory worker, his life, his friends, his hard work, finances? His attraction to the woman? Her blind daughter and his feelings of obligation?

5. The fiancee, large, dominating, her daughter, the father abandoning the family? Her feelings towards her daughter – as well as being callous?

6. The idea about the bus, the Happy Times Hotel, the clients, prosperous?

7. The renovation of the district, the demolishing of the bus? The owner, his dilemma, his friends, the fiancee?

8. The idea about the massage parlour, the old building, dilapidated, renovating? Installing the blind girl?

9. The inventiveness of the group, the range of clients, organised so that she was protected? The fiancee content?

10. Everything seemingly going well, the touch of fate, the owner, the fiancee, but the blind girl and her future?

SCOOBY DOO

US, 2002, 86 minutes, Colour.
Freddie Prinz Jr, Sarah Michelle Geller, Matthew Lillard, Linda Cardellini, Isla Fisher, Rowan Atkinson, Miguel Nunez Jr.
Directed by Rajna Gosnel.

Hollywood film-makers obviously thought they'd hit the jackpot with this remake of an old TV series starring a goofy dog and his crime-busting pals. And they did. The producers have crammed this new film versions full of slapstick comedy - like people falling all over the place and a veritable gale of breaking wind jokes. The children I saw Scooby Doo with had a good laugh at these points but I suspect for many parents it was an ordeal. However, if nothing else, it's still nostalgic viewing for many adults.

Scooby and his friends are trying to solve mysteries at amusement parks. The first is being haunted by the Luna Ghost. They sort this villain out within the first five minutes. The next problem takes up the rest of the film and involves a visit to an elaborate theme park called Spooky Island. Students were being turned into zombie-like creatures. Their energy was being drained from them so the evil genius could absorb their power and control the world (...or something like that). The island is also full of thugs who pursue Scooby and co. all over, including what seems to be a castle haunted by monsters.

There are plenty of special effects to keep it all moving. The human stars do their best at hamming it up to keep in the spirit of the cartoon-like adventure. Freddie Prinze Jr is Fred Jones, the self-absorbed theorist of the group and makes a smug leader. Sarah Michelle Geller resents being Daphne, the damsel in distress and uses her martial arts training to be the prim and glamorous heroine. Linda Cardellini is bespectacled intellectual Velma and Matthew Lillard plays Shaggy, Scooby Doo's dopey sidekick as if born to it.

The whole thing is noisy and raucous and not for gentle souls. It won't become a classic but will keep most youngsters amused for 90 minutes.

BROTHERHOOD/ BRODERSKAB

Denmark, 2009, 97 minutes, Colour.
Thure Linhardt, David Dencik, Nicolas Bro, Morten Holst.
Directed by Nicolo Donato.

Brotherhood is a striking Danish film which focuses on contemporary social issues in Europe – which were to which were to increase in the ensuing years.

The film opens with a gay bashing, an introduction to a Brotherhood which turns out to be a white supremacist, neo-Nazi group, tattooes, flags, books and Heil Hitler.

Then the film transfers to a military interview with Lars, the central character, being criticised for making advances to his men, and his decision to leave the Army, pressurised to do something by his politician mother, but working on a farm, encountering the neo-Nazi group, going to a beach party, being persuaded in angry reaction to bash a migrant, then becoming further involved with the group.

While the film shows the background of the neo-Nazis and their ideologies (including a fanaticism about harmony with nature and natural foods), it focuses on Lars and his going to a beachside house to help another member, Jimmy, to renovate. There is an immediate hostility but which changes and Lars makes a sexual advance to Jimmy and they begin a relationship.Jimmy’s brother, Patrick, expecting to be part of the neo-Nazi hierarchy, but a drug addict, is angry and jealous.

As might be expected, Lars is challenged, the group persuading Jimmy to bash him, the two deciding to leave only to be confronted by the group and Jimmy being hospitalised. The film stops, leaving it to the audience to wonder what will happen…
Lars is played by Thurie Lindhardt (Angels and Demons) and Jimmy by David Dencik, Swedish actor in international films including Tinker, Taylor, Soldier, Spy.

An interesting look at movements which were to become stronger during the Syrian Civil War and the waves of migrants coming to Europe.

1. A Danish drama, topical issues of the early 21st century, neo-Nazis, white supremacists, advocates of harmony with nature, gay bashing?

2. The settings, homes, farms, houses by the sea, the military, the meetings of the neo-Nazis? The musical score?

3. The title, the supremacists, the bond between Lars and Jimmy?

4. The prologue, the gay young man, the meeting in the dark, stripping, the brotherhood coming and the bashing, in hospital? The later fear of the brotherhood that the victim would go to the police?

5. The transition to Lars, the military interview, the accusation that he was propositioning the men (and the audience assuming he was not, but the later revelation about his orientation)? His decision to leave the Army, going home, his politician mother and her insistence, his more passive father, his mother’s intervention and the letter, his reactions, not knowing what to do, working on the farm with the cattle?

6. The approach by the Brotherhood? Fatty and his interest in Lars? The encounter, the discussion, the invitation to the party? Lars, not interested, yet going, his mixed motivations? The encounter with the men and women on the beach? The neo-Nazis? The meetings, saying that he didn’t want to join? Fatty being urbane in manner but later revelation of his violence?

7. His reaction against his parents? The bashings? His change of heart? Fatty’s invitation, the meetings, the discussions, his contributions about logos, flyers? His becoming more involved?

8. The group, Fatty and his leadership, the ideologies, the skinheads, their motivations, not intelligent, not readers, following the leaders, the exhilaration of the violence, belonging to a cause? The irony of their interest in non-genetically modified foods, harmony with nature?

9. Lars, the invitation, the books for him to read, his leaving home, the arrangement for him to go to the house by the sea, with Jimmy, Jimmy’s hostility? The working together, the swimming, the intimations of attraction?

10. Lars, the drinking, initiating the contact with Jimmy, Jimmy’s response? The passionate relationship? The morning after, hesitation, the mutual consent?

11. Patrick, drugs, drinking, expecting to be part of the brotherhood, Jimmy’s rebukes, Patrick’s visit, high, observing the two together? The consequences?

12. Lars at home, the story of the bashing – and the incident with Lars being incited to throw the rock at the hostel window, the bashing of the man, the report in the media – and Lars telling his parents that he did it? The group wanting headlines and publicity?

13. Lars, second thoughts, the meeting with the boss, Ebbe and his encouraging the young men, the visit to the house and his commendation?

14. The group learning about Jimmy and Lars, Fatty and the instigation, getting Jimmy to bash Lars, his doing it, his grief, tending to Lars? The bashing of Jimmy, in hospital, coma? Patrick and his regrets?

15. Larson Jimmy, the plan to leave, the car, the assault?

16. The film stopping – and leaving it to the audience to think about the brotherhood and their attitudes, their violent behaviour, Jimmy and his recovery or not, Lars and his future?