HELL OR HIGH WATER

US, 2016, 102 minutes, Colour.
Jeff Bridges, Chris Pine, Ben Foster, Gil Birmingham.
Directed by David Mackenzie.


This is a contemporary western relying on audience memories of the traditions of Texas bank robbers, memories of the outlaws and their mixed motives in the 19th century, the tradition of Bonnie and Clyde and the enthusiasm for crime and robbing banks, the more organised gangsters of the later 20th century. So, here are bank robbers in the 21st century – one with the touch of ruthlessness and recklessness, the other having a serious motive for the robberies.

The setting is West Texas and, if the film is to be believed, it is a very drab place, businesses running down, lots of signs for loans and properties for sale. Except for the mountains, the scenery is not all that attractive either (although, to be fair, it was filmed in New Mexico).

We are plunged instantly into a bank robbery, two masked men waylaying a bank assistant before 8.30 in the morning, working on the principle that robberies do not usually take place that early and so should be easier to achieve. And they are right. The thing is that they take only cash and not enormous amounts of it either. They immediately then do another robbery.

The robbers are two brothers, the older brother, Tanner (Ben Foster in yet another angry and villainous role) and Toby, more upright but a lot in his life not to be proud of (Chris Pine taking time off from being Star Trek’s Captain Kirk). Tanner has been a long time in jail and alienated from his family, especially their mother who has just died. Toby is divorced, has two young sons and is concerned about their future, especially since he has inherited property on which oil has been discovered and which will bring in substantial revenue. He has a time limit (hell or high water) to pay mortgage and loans and ensure the security of his sons.

Toby is quite smart and the method for laundering the cash is to drive to Oklahoma, go to the casinos, exchange chips, and then get cash back.

The main credit for the film, however, is given to Jeff Bridges who plays a Texas Ranger, pretty laid back in his way, who is about to retire. His assistant, Alberto (Gil Birmingham) has both Native American and Mexican ancestry – and he is continually the part of the Arranger’s racial teasing. The Ranger is shrewd, interviews witnesses, a number of whom could identify Toby, and waits out the next robbery.

As might be expected, things go wrong and there is a pursuit, car chases, sniping in the mountains.

There is an interesting discussion at the end between the Ranger and Toby, raising the issues of the intelligence behind the robberies as well as the motivation.

The screenplay is by Tyler Sheridan, an actor, who was praised for his first screenplay, Sicario. His work here is both clever and sardonically humorous, some good wisecracks, especially on the part of Jeff Bridges – when asked by Alberto why he is sitting on a porch, he replies that he is practising his future! But Jeff Bridges, who has been making films were almost 50 years, has now achieved some cult status and can take on old codger roles in the vein of Paul Newman and Clint Eastwood – and, by the look of him and his performance, Chris Pine could be doing the same thing in about 30 years.

The musical score is by Nick Cave who collaborates with his writer, Warren Ellis in some songs.

1. A contemporary western? The parallels with the old West? 21st century?

2. West Texas, a drab area, loans, for sales signs, foreclosures? The ugly aspects of the towns, the banks, the diners? Oklahoma casinos?

3. The roads, aerial shops, the mountains? The musical score? Contributions by Nick Cave and Warren Ellis?

4. 19th-century bank robberies, the outlaws? The tradition of Bonnie and Clyde? The later 20th-century gangsters? Bank robbers in the 21st century? The changes in motivations?

5. Tanner and Toby, robbing banks early in the morning, arriving with the assistant, waylaying the manager? The method, taking small amounts of cash, the escapes, the cars, varying the escape cars? The second robbery, leaving the gun on the desk, the old-timer with his coins, shooting?

6. The revelation of the characters, the background and their stories, Tanner and his jail record, attack on his father? Alienation from his mother? Toby, younger, the photos of them in their past, his marrying, his sons, the divorce, relationship with his ex-wife? His mother’s death?

7. The third robbery, the young girl, her being interrogated by Hamilton?

8. Toby’s situation, the loans from the banks, interest, the amount needed, the small robberies, taking cash, laundering the money at the casino, getting cash in exchange for chips, the paying back to the bank, the deadline, Toby and his insistence on finalising everything and the documents? His wife, his discussion with his son, suggesting he not take him as a role model, the boy refusing beer? Trust? The discovery of oil in the land, the digging, the income? Security for his family?

9. The two brothers, their conversations, Tanner and his recklessness, shooting, punching? At the casino, play, the confrontation with the Indian, the talkback, Comanche, sex and the room? Toby, his plan and the execution?

10. The meal at the diner, food, conversation, the waitress and her flirting, the big tip, interrogated by the police, having to give back her tip as evidence? The staff and their responses? The men sitting around, chatting, giving information to Hamilton?

11. Hamilton, his age, his work, about to retire, his relationship with Alberto, their working together, the racial teasing? The interrogations? Hamilton being shrewd, staying in the area, in the motel overnight, his reaction to the religious television? Sitting on the porch – practising his future? His nonchalant attitudes?

12. The last robbery, people with their cameras, mobile phones, the guard, his being shot, deaths, Toby being wounded?

13. The escape, buying the secondhand cars, changing them, burying them, the split into different vehicles, Toby, tending his wound, his getting through the roadblock? Going to the bar? Paying the money?

14. Tanner, the chase, all the cars, the shooting, the exploding vehicle? Going to the hills, sniping? Hamilton in the chase, shooting? Alberto being shot, the impact on Hamilton? Talking with the driver, going the back road, pursuit of Tanner and shooting him?

15. Hamilton retired, getting the documents, thinking through the crimes? The visit to Toby, Toby’s reticence, the talk, the truth – and, perhaps, their meeting again?

MOLL FLANDERS


US, 1996, 123 minutes, Colour.
Robin Wright, Stockard Channing, Morgan Freeman, John Lynch, Brenda Fricker, Geraldine James, Aisling Corcoran, Jim Sheridan, Jeremy Brett..
Directed by Pen Densham.

Not a Hogarthian version of Daniel Defoe's classic novel, but rather a sanitised re-write, with Moll rather like a Dickensian victim.

Robin Wright makes Moll a sad woman and not as engaging as expected. The cast included Morgan Freeman as her protector, John Lynch as her husband and Stockard Channing as a Madam. Much of it looks impressive, but it does not stay in the memory.

Not much Defoe.


1. The title? Not a version of Daniel Defoe’s novel? Inspired by…? The re-creation of the 18th century, London, the Americas?

2. The re-creation of period, costumes and decor, locations, the city of London, Colchester, the British countryside, the Americas? The world of the rich, the poor? The musical score?

3. The framework, the narration by Hibble, his role as a servant, character, played by Morgan Freeman, his quest for all to find Flora, finding her, telling the story, reading from her mother’s memoir? His own role in the story?

4. Moll’s story, Robin Wright as Moll, her mother in prison, hanged, Moll entrusted to the confident, the nuns, the abusive priest, out on the street? The finding the bordello? The encounter with Mrs Allworthy, Hibble as her as assistant and confidant? The offer of the prostitute’s life, her ambitions? The clients? Going to the artist, his limbs, modelling?

5. The artist, his wealthy background, family, his work, the love for Moll? Going to visit his parents, their reaction? The marriage, their daughter? Moll and the opportunity to be her better self? Her destiny?

6. Mrs Allworthy, management of the bordello, interactions with the prostitutes, Moll as her protégé? Her work with Hibble? The plague, Flora being sent away, lost? Mrs Allworthy’s response to Moll’s success? The trip to the Americas? Her death, the substitution?

7. Hibble, bringing the daughter to Moll, the melodramatic ending with the substitution of Moll for Mrs Allworthy? A new life?

LIKE CRAZY/ LA PAZZA GIOA

Valeria Bruni Tedeschi, Micaela Ramazotti.
Italy, 2016, 118 minutes, Colour.
Directed by Paolo Virzi.

When Italian filmmakers are able to combine the serious and comic, create interesting and likeable characters, explore unusual situations, they come up with very entertaining films. This is one of those films.

While the English title is Like Crazy with its slang nuances, the Italian title has an emphasis on joy, even though it is a mad, crazy joy. This more accurately describes the experience of the central characters and something of the audience response.

There is something of an ominous prologue, a young woman seen at a distance walking across a bridge – but it is only in the latter part of the film that there is a revelation of what this scene has meant and the visualising of it.

And then we meet Beatrice! In most ways she has to be seen and met to be believed. She is played by Valeria Bruni Tedeschi, always a versatile actress but now are giving one of her most exuberant performances. Beatrice is in a mental institution, something of a free and easy place to live, a caring doctor, some sympathetic staff, and Beatrice’s feeling free to lord it over everyone, remembering her past with something of an unreal glow, forgetting how her marriage failed, but looking back to her infatuation with a gangster, helping him with the lawyer, spending the family money on him. She comports herself with a great deal of style, fashion, and a great deal of disdain for most other people except for those she chooses to like.

This is true of Donatella, Micaela Ramazotti (the wife of the writer-director, Paolo Virzi) in a performance complementing that of Beatrice. Donatella arrives at the institution, depressed, emaciated, tattoos… And, when the doctor leaves Donatella at reception, Beatrice is able to step in and enjoy herself impersonating a doctor. The two women do not bond instantly but gradually, sharing a room, talking, Donatella gradually able to reveal something of her story, and Beatrice loquaciously non-stop commanding every situation.

When they are permitted to work outside the institution and miss the vehicle home, they go on their own variation of a Thelma and Louise spree, Donatella caught up with Beatrice’s continued enthusiasm and inventiveness, taking cars, dining at a top-class restaurant with no ability to pay (and Beatrice returning the wine because of a cork tang), a world that Donatella has not moved in.

Part of the getting out of the institution is Beatrice’s return to visit her ex-husband, his present wife angry with her, Beatrice exercising a certain seductiveness, with support of the staff, and taking money and jewels. On the other hand, Donatella visits her mother who is looking after an infirm elderly gentleman and expecting an inheritance while her father is a singer who was hardly ever present for Donatella’s growing up. She also visits the club owner, the father of her child, who wants to get rid of her.

The pathos of the film comes with Beatrice tracking down the adoptive parents of Donatella’s son and the audience sharing quite some feeling in the encounter with the family.

One is tempted to think all the time that the world is full of mad people, not just in the mental institutions – but the question arises of whether a person can get better or is destined to live in their mental condition.


1. An Italian story, Italian style, serious and comic? Audiences relating to the film and the characters?

2. The title, the English nuances? The Italian nuances – a mad joy?

3. Northern Italy, Liguria, the countryside, the towns, institution, the mansions, clubs, restaurants, homes? The beach? The musical score?

4. The prologue, Donatella, the child, walking across the bridge – the later and gradual revelation of the truth, the final flashback, with the child, audience empathy, her illness, wanting to die, jumping from the bridge, with the child, underwater, surviving?

5. The portrait of Beatrice: her age, style, loquacious, pretentious, her appearance, fashion, her poise, her mental condition? Her talk, her place in the institution, the treatment of the authorities, of the staff, the other residents, considering herself superior, living in her imagination and distorted memories of the past, her marriage, its failure, her husband and the law, her infatuation with the gangster, seeing Donatella arrive, curiosity, the opportunity for her to pretend to be the doctor, her handling of the situation? Attached to Donatella, wanting to talk, the dining room, Donatella’s wary reaction, the gradual bonding, discussions, sharing the room, confidences? The growing friendship? The work in the garden – and her talking and watching others work? The opportunity to escape?

6. Donatella, her age, experience, her past, her appearance, emaciated, the tattos, Beatrice’s reaction to these tattoos? Gradual revelation about her mother, the visit to her mother and her taking care of the elderly man and expecting an inheritance? Her father’s visit, his absence in the past, the singer, her singing the song, thinking that it was his gift to her but his stepping back? Maurizio, the club, sex, her work there, the child, wanting to kill herself? With Beatrice, her reactions, working with her? Life and her mental state?

7. The staff, the doctor, her methods, the details of daily living, the nurses, some friendly, some not? The nuns?

8. Beatrice getting Donatella to go to Mass, talking about the African priest and his being attractive, Beatrice persuading her to go to Communion?

9. The possibility for working outside the institution, the gardening, Beatrice talking, Donatella working? Missing the bus? Their going on the spree?

10. Beatrice, shrewd, her manner with people, taking things, using her imagination? The cars, the driving, the angry driver picking them up, pursuing them? Going to the restaurant, her grand style, then having no money, their being pursued?

11. The effect on Donatella, coming alive, sharing something of Beatrice’s exuberance, the car rides, the restaurant and running? Going to see her mother, Beatrice taking control, her mother’s work, the old man? Getting the money? Going shopping? Going to see Maurizio, his hostility? The accident and her being knocked over by the car? Hospital? Escaping?

12. The staff, concern, the phone calls, tracking down the women?

13. Beatrice and her going to the mansion, the servants greeting her, her ex-husband, the anger of his wife, his talking with her, the sexual encounter and his infatuation, her taking the money and the jewellery – and saying she intended to give it back? The contrast with her visit to the gangster, his hostility, her being willing to give over the money, to his girlfriend, Donatella using her commonsense and their leaving?

14. Beatrice, her concern about Donatella and her child, getting the information about the parents, the boy and the bond with his adopted parents, Beatrice and her talk, the more sympathetic father, the hostile mother, Donatella listening, looking at the boy and his playing?

15. The visit to the beach, Donatella watching, the boy in the water, talking with Donatella, his recognising her? The reaction of the mother, the reaction of the father, his urging his wife to let them be, the pathos of the scene between the two, going into the water, her leaving – and gratitude in seeing the boy?

16. The couple being caught, going back, Donatella wanting to get well, Beatrice and her continued flair…?

SPIDERMAN

US, 2002, 121 minutes, Colour.
Tobey Maguire, Willem Dafoe, Kirsten Dunst, James Franco, Cliff Robertson, Rosemary Harris, J. K. Simmons, Joe Manganiello, Bill Nunn.
Directed by Sam Raimi.

When a film becomes a phenomenon, something that everyone wants to see, they say it is 'critic-proof'. Whether it be Harry Potter, The Lord of the Rings or the Star Wars series, millions of people go to see the film, no matter what the reviewers say. Early warning that Spiderman was going to join this box-office list was the figure for takings on its opening weekend in the US: $114,000,000, a staggering amount.

One of the big advantages of Spiderman is the casting of Toby Maguire as Peter Parker/Spiderman. I am surprised that I can say this because Maguire is a very quiet and introverted performer, very good at serious dramas. I never imagined him as an action hero. However, like Christopher Reeve as Clark Kent/Superman many years ago, Peter Parker is all the more believable because he is shown as a very ordinary young man who discovers that he has extraordinary powers. Younger audiences will identify with him because he is in his final year at high school. He is shy, wears glasses, is clumsy, loves science and photography but is pushed around by the school bullies. And he has a crush on Mary Jane (Kirsten Dunst) who lives next door.

The screenplay tries to make Peter's transformation credible by having him accidentally bitten during a school visit to a museum by a genetically modified spider who combines all the skills of other spiders. As he discovers how he is changing, we believe that it is happening.

Parallel to his change is that of the unscrupulous arms tycoon, Norman Osborne, played by Willem Dafoe. He neglects his own son (James Franco), imposing on him unreal expectations while admiring Peter and his scientific knowledge. When his experiments for the Pentagon go wrong, he is transformed into a monster, a 'Green Goblin' who is the evil mirror image of himself. Everyone can guess the rest: Spiderman versus the Green Goblin. Even though Spiderman is a comic book character, we come to believe that he could be real, even when he puts on his spider costume. On the other hand, the Green Goblin, sailing around on his hover raft, looks so unreal and comic book, that he puts the special effects battles between good and evil off balance. Where the true battle lies is in the way that Osborne/Goblin struggle with each other, the inner evil taking over Osborne's personality as Spiderman shows Peter the power for good.

Spiderman can be funny (as when Peter goes to a wrestling competition and everyone ridicules him until he wins) as well as serious (the death of his uncle and the attack on his aunt). Peter learns that power must mean responsibility and service of others. So, what we have is a mixture of reality and comic-book life and a sympathetic hero for our times.

1. The popularity of Marvel Comics, of Marvel films? The character of Spiderman and his activities, good versus evil? Previous films? Sequels and subsequent new re-boots?

2. A hero for the early 21st century? A young man, high school, good at science, intelligent, school photographer, shy and reserved, awkward with the girls? Yet transformed?

3. New York City setting, suburban streets, homes? School, museums? The views of the city, aerial views from Spiderman’s point of view? The laboratories, experiments? Sense of realism?

4. The Comic book atmosphere? Peter Parker and the spider bite, his transformation, the webs, his powers, climbing buildings, leaping and swooping? His disguise and working out his costume? A masked hero? Norman Osborn, his experiments, transformation into the Green Goblin, his raft board, mask and make up, costume? The unreality compared with Spiderman’s costume?

5. The action sequences, special effects, transformations, conflicts?

6. Peter Parker, his age, with his uncle and aunt, the family bonds? Mary Jane next door, attentive to her, her interest in other boys? His devotion? At school, his friendship with Harry? At the Museum, the information about spiders? His trying to take photos, Flash and the others pushing him? The authorities? Explaining information to Harry, his using it with Mary Jane? Peter being bitten, unwell, in his room, collapse, revising? In the dining room, the clash, Flash being humiliated? The spectacular fight in the school corridor and Flash’s defeat? The web and its effect? Peter testing out the web, the way to throw the web?

7. The wrestling match, his mask, the crowd, his win, acclamation, going to collect his money? The robbery?

8. Peter and his moodiness at home, going in and out? The character of his uncle, a good man? His aunt and her care? Having the talk with his uncle, the wrap remand about the School fight, the motto that with power comes responsibility? His reaction against his uncle? Discovering the attack, his grief at his uncle’s death? The funeral? His seeing the killer, the robber at the wrestling match? Confronting him? His fall into his death?

9. Peter designing his costume? The collage of his activities? Righting wrongs, saving people?

10. The editor, rough manner, not liking Spiderman, sales going up, wanting photographs, advertising? Peter and his setting up the camera, bringing the photos, the payment? Employed by the paper?

11. Norman Osborn, the industrialist, the self-made man, the meeting with the military, the deadline for the experiments? His assistant wanting more time? Osborn taking the potion himself, the transformation, the violence at the killing of the assistant? His being informed and not aware of it? At home, his other self, in the mirror, the continued dialogue between his two selves? His relationship with Harry, taking him to the Museum, Harry failing at all the private schools, his admiration for Peter, his interest in science? Harry interpreting this that his father preferred Peter? The later meeting of the board, the unanimous firing? His becoming the Green Goblin, on the raft, creating mayhem, the destruction of the board members? The clash with Spiderman, the burning of his house, the injuries to Aunt May and her going to hospital? The visit at Thanksgiving, friendly, upstairs, the drop of blood, Peter’s wounded arm, his realising the truth? Confronting him, taking Mary Jane, the cable car, the passengers, dangling, their being saved by Peter? The buildup to the final confrontation? The taunts? Unmasked? The threat to Peter and the barbs, Peter’s movement and Osborne being transfixed?

12. Mary Jane, next door, wanting to be an actress, to leave the suburbs? Peter and his dreams? Her admiration for Spiderman, the kiss? Her being in danger, her later telling Peter that it was he that she thought of during the dangers? His walking away – to his mission?

13. Harry, resentment towards Peter, his threats to avenge his father?

14. The first episode in the series, audience appreciation, wanting more?

ANTI-SOCIAL

UK, 2015, 103 minutes, Colour.
Gregg Sulkin, Meghan Markle, Josh Myers, Christian Berkel.
Directed by Reg Traviss.

Anti-social is announced as a true story, a look at something of East London’s underbelly, the young gangs, their rivalries, robberies, shootouts, drug dealing.

The film has an authentic atmosphere, the streets of London, the contrast between the East and the jewellery shops of central London.

The plot focuses on two brothers, Marcus (Josh Myers) and Dee (Gregg Sulkin). The two grew up with the local gangs but Marcus has become a professional gangster, with smash and grab jewellery robberies with his friends, fencing the jewels and getting money, investing it in drugs, but being robbed of the drugs and then planning, with the dealer, a much more extensive robbery, jewellery valued at more than £20 million.

Dee on the other hand is a graffiti artist, talented, making his own plates, attracting the attention of an art dealer from Berlin who offers him the opportunity to go to live there and participate in exhibitions. The complication is that in the shootout, Marcus is wounded and hospitalised and he and the gang put pressure on Dee to take his place.

Dee has an American girlfriend, a model, and they plan to go to Berlin together. (She is played by Meghan Markle – with the frisson in retrospect that in 2016 she was Prince Harry’s American girlfriend!)

The dilemma is whether Dee will participate or not, especially after the firebombing of his home ande its effect on his mother, his sense of loyalty to his brother’s appeal – and his participation, and the tension and nervousness as he goes to the airport for his trip to Berlin.

There is further information during the final credits – but no explicit moral comment at all.

1. The title? The expectations based on a true story? London, East London, the gangs, their behaviour, attitudes, anti-social and amoral?

2. The authenticity of the settings, the East London streets, homes? The gang headquarters? Central London, the jewellers’ shops?

3. Action, the robberies, the shootouts, brutality in the streets? The musical score?

4. The focus on the two brothers, Marcus and Dee, Dee telling the story to Kirsten, the Spanish mother, Marcus’s father, violent death, these father? The mother at home, stoned? The past and the boys and their belonging to gangs, the activities, their friend?

5. Marcus as an adult, his gang, personality, girlfriend? The smash and grab robberies, fencing the jewels? The drug plans, his gang agreeing, going to the dealer, spending the money, getting the drugs, hiding them in his friend’s house? The attack on the house, the rival gang, the violence, sexual assaults and the finding of the drugs? His going to the dealer, the proposition for the new robbery? His agreeing? The friends and the planning? The shootouts, Marcus being wounded, in hospital?

6. Dee, younger, seeing him as a graffiti artist, his designs, the painting, in the streets? His relationship with his mother? His bond with Marcus, markers giving him the money? Kerstin, her modelling, the bond between them, going to live with her? The arrangement the meeting with Phillip, the discussion about his art, the possibilities of the Berlin exhibition, the support, the tickets, the plans, Kirsten agreeing to go with him?

7. The characters in the rival gangs, violent, shooting? The moral stances, antisocial?

8. The world of modelling, photography, Kirsten and her American background?

9. The buildup to the robbery, Marcus in hospital, his friends telling Dee he had to participate, Marcus and his plea, the firebombing of the house and the effect on his mother, Dee and his refusal?

10. The robbery, the two men going in, disguise, guns, the assistant, taking all the jewels? Leaving, the girl as hostage, the pursuit, the shootings in the street, the car, the associate blocking the police, Dee waiting on his bike, getting the jewels and riding in the opposite direction?

11. The news that the three men were killed by the police? Dee and the interrogation by the police? Dee and his bricking up the jewels?

12. Going to Germany, Dee and his moodiness, Kirsten and her reaction, going to the airport, the tension, customs, passport control, watching the television news, Dee nervous, in the plane?

13. The final credits, the further information, six months later, Dee and his success and his future? Marcus and his going on the holiday with his girlfriend?

14. No final information about police, the jewels, criminal activity?

EMILE

Canada, 2003,
Ian Mc Kellan, Debora Kara Unger, Theo Crane.
Directed by Carl Bessai.

Emile is an elderly academic returning from Britain to his home country, Canada, to receive an honorary degree. It provides the occasion for him to meet his niece (whom he left in an orphanage when her parents died in an accident) and her daughter. She dislikes him and resents his abandoning her. Her daughter is resentful of her mother. In fact, there is a great deal of resentment in the family which is revealed through stylized flashbacks where Emile’s long-dead brothers interact with him. He moves in and out of the past. Gradually, he comes to some peace, especially through the friendship of his grandniece.

This is a modest small-budget film with Carl Bessai acting as writer, director and director of photography. Its strength is in the quiet, almost reticent performance by Ian Mc Kellan as Emile - a far cry from Gandalf. Debora Kara Unger is intense as his niece. A small, personal drama.

1. The title, the focus on Emile? As a young man, his early career, the brief return to Canada, his semi-retirement and visit?

2. Emile, self-reflection, examining his conscience, his memories, the flashbacks in his mind, seeing people as they were when he first met them?

3. The Canadian production, Saskatchewan of the farm, the contrast with Britain and the academic world? The musical score?

4. Ian Mc Kellen as Emile? Strong presence and performance?

5. The role of memory, regrets, sense of loss, age, guilt, self-recrimination? Some atonement?

6. Emile as a young man, Carl and his work on the farm, Freddy as young, wanting to be a writer, Carl keeping him on the farm for his mechanical skills? Emile escaping to the UK? Gaining whereas Freddy lost the academic opportunity and to leave the farm? His promise to Freddy to return, his not returning? His becoming part of the academic world, becoming British, his accent, bearing?

7. The portrait of the two brothers, Carl, dominant, his marriage, Nadia? Freddy’s death, gassing himself? Carl and his wife in the car accident? Nadia and her being an orphan?

8. Emile’s brief return to Canada, no regard for the family, abandoning Nadia to the orphanage? The business matters his sole concern?

9. His later return, the honour at the University, his speech and acceptance? His going on the trip, the contact with Nadia? Nadia as a character, her husband and separation? Her care for Maria? Welcoming Emile, the frank discussions, the memories, his abandoning her? His bonding with Maria, sharing with her?

10. Emile and the opportunity to reassess his life, accept what was blameworthy, his responsibilities and shortcomings? The opportunity to re-bond with his family and give some meaning to his life?

 

 

 

 

COMME UNE IMAGE/ LOOK AT ME

France, 2004, 110 minutes, Colour.
Marilou Berry, Agnes Jaoui, Jean- Pierre Bacri, Laurent Grevill, Keine Bouhiza.
Directed by Agnes Jaoui.

This is a very civilized, intelligent and witty adult drama. It takes us into a world of celebrity and would-be celebrity, a world that might be tempting but which would quickly pall in real life.

There are several central stories which intertwine. They are very well acted. We are asked to give our sympathies to a 20 year old who wants to be a classical singer. She has no self-image (except that she is talentless and overweight) and no self-esteem – which is not helped by her extraordinarily self-absorbed father with low frustration tolerance of everyone and everything, including his daughter. They are played perfectly by Marilou Berry and co-writer, Jean- Pierre Bacri.

Director and co-writer, Agnes Jaoui, plays a music teacher, a sympathetic woman, one who gives some values focus to the proceedings. She is married to a temperamental novelist, Laurent Grevill, who comes to bask in the reflection of the selfish writer and publicist.

There are a number of other interesting characters, an elderly agent, a young journalist and members of a choir.

It is the intelligence and wit of the dialogue that keeps the film absorbing and the plight of the daughter and the it-has-to-be-seen-to-be-believed offhand and cruel behaviour of the father. Very French, but universal appeal.

1. The title? The different nuance in the English title? As applied to each of the central characters?

2. The French style of the film, characters, situations, interactions, dialogue? The musical score – the choir and the classical music?

3. The director, writing and acting, her husband as the co-writer?

4. The focus on Lolita, her age, 20, her weight, her self-consciousness, the image? Comparisons with the fashion magazines? Her father and his disregard for criticism? Her relationship with her father, his being a famous novelist? In the choir, her friends and associates? Sylvia and the singing, the coaching? Discovering Lolita's father was the novelist? Wanting access to him for the novelist husband? Lolita liking Sylvia, confiding in her, Sylvia's change of heart? Lolita, the encounter with Sebastien, fainting? His attention to her, her wariness of him? Her own attachment to Matthieu? Matthieu and his interest in her father? His behaviour? The performance, the choir? Her reaction to Sebastien, believing him?

5. Etienne as novelist, egotistic, his treatment of people, tone, manner? The treatment of his daughter? His young wife, attitude? The stepsister? The way that people saw him? His prestige? People wanting to make contact? Pierre and his manuscript?

6. Sylvia, teacher, her relationship with Pierre, his being a novelist, his own self-interest? Sylvia using Lolita? It changing when Lolita confided in her? Her changing point of view on Etienne? Pierre, liking Etienne, the access to him the consequences of his success, his experience of the television program?

7. Sebastien, the encounter with Lolita, a decent young man, liking her? Lolita's reaction? Change? The contrast with Matthieu and his being self-serving? The role of Vincent, being a hanger on?

8. Lolita, perseverance, the singing, the results, a growing in self-consciousness for the better?

 

THE REHEARSAL

Canada/UK/US, 2015, 100 minutes, Colour.
Bruce Greenwood, Dean Geyer, Deborah Kara Unger, Rhian Rees, Rob Morrow, David Cubitt.
Direction by Carl Bessai.

The Rehearsal is a very entertaining film for those who love theatre and have something of a down on the movies, especially the adrenaline-pumping action shows.

Bruce Greenwood, a very versatile actor from Canada in many Canadian and American films over several decades, must be very thankful to have this role. He is a veteran British actor, impeccable accent and all, in the vein of Derek Jacobi. As he has aged, he decides to buy an abandoned London Theatre, renovate it and put on a season of Chekhov. The performance of the The Cherry Orchard fails. Greenwood is very good indeed.

David Cubitt is his very camp financial adviser as well as personal partner and gets the brainwave to bring in Hollywood star, Blaise Remington, action hero (Dean Geyer, South African born, Melbourne educated). Greenwood’s Longfellow has never heard of him, thinks the idea repellent, and has looked down on movies for many decades (although it is revealed that he was a bartender in Thunderball).the audience has been shown some clips of car chases with the hero sitting in a theatre rapt in admiration of his work.

The audience is given some insight into Hollywood, a flamboyant Scandinavian director subject to moods in making his action shows, the pressures of time and budget, the pressures of press conferences and premiers, fake romances, the disappointment of films being shelved. Rob Morrow plays an agent – and one hopes that a lot of his activities and spiels are spoofs!

Canadian Deborah Kara Unger plays Lady Ellen, a veteran actress, also with impeccable British accent, holding a torch for the gay Longfellow and able to take the American performer in hand. Also in the cast is a teacher who has put on a conversion of Titus Andronicus in a North American school and is fired because of complaints about the bloodthirstiness. She accompanies her roommate to an audition and is mistaken by Blaise Remington for an actress and he casts her as the heroine. She is played by Rhian Rees. And she does not know who Blaise Remington is.

The enjoyment of the film is in the auditions, the rehearsals, the perspective of the veteran director, his having to deal with a brash young man who is rather ignorant of the classics and is used to performing on cue in the movies. Needless to say, each of the men undergoes something of a transformation – with a climax at the end when Hollywood pressurises the star to film and so miss the opening night of the play.

And there is a pleasing movie joke at the very end of the film.


1. An entertaining film about theatre British Theatre, London Theatre, the classics, Chekhov?

2. The London settings, Theatreland, the streets, the theatres, the atmosphere of London? The interior of the theatre, auditorium, stage, rehearsals? The musical score?

3. The title, the focus on the rehearsals, auditions, the readings, dress rehearsal, the role of the director, the actors and performance, learning, discussions
about motivations and characters?

4. The English atmosphere of the film? Filmed in London, Hollywood, Vancouver?

5. Audience response to Chekhov, his plays, Russia in the 19th century, his characters, interactions, dialogue? The comments about his relationship with Stanislavsky and actors and the Method?

6. The contrast with Hollywood action films? The car chase sequences? The actor watching? Editing, shelving projects? The reputation of actors? The role of action film directors? The pressure of budgets, time, whims of performance and directors? The role of agents? The press, fake romances, press conferences? The effect of actors and living up to reputation, besieged by fans, the reality?

7. Bruce Greenwood as Longfellow, Canadian, his English accent, his channelling actors like Derek Jacobi? His age, experience in the theatre, acting, directing, absorbing the British traditions? Looking down on the movies? The revelation that he had been a bartender in Thunderball and pestered the director about his back story? His buying the Highgate Theatre, the plans, the Chekhov season? His cast? His relationship with Clive? Personal? Business? Relying on Clive’s shrewdness? The failure of the first play?

8. Clive, smart, signing up Blaise Remington, the details of the contract, giving him cast approval? Longfellow’s reaction?

9. Introduction to Blaise, the car chase, his watching it in the theatre? His wanting something more, longevity in acting? The shelving of the film? His dealing with his agent, the discussions, the agent and his playing minigolf etc? The decision to do the play? His contract? Control?

10. Longfellow, the rehearsals, Blaise arriving, interrupting? His dismissing the actor? His wanting to make cuts in the script not realising how classic Chekhov was? The meeting with Julia at the airport in the accident, not knowing who he was? Seeing her outside, inviting her in to have a look around, giving her the script, her audition, his wanting her? The irony of her roommate, waking her up, going to the audition, the roommate being sick, her not even being heard?

11. Ellen, her status, Lady, relationship with Longfellow, Romeo and Juliet in the past, in love with him even though he was gay? Her performances? Arrival, the grande dame, reaction to Blaise, the groupies at the rehearsal, getting the selfies taken and ushering them out? Taking some control over him?

12. Blaise, being used to moviemaking, having the script, cutting the script, his ignorance of Chekhov, the modern sensibility, thinking that Method came with Robert De Niro instead of Stanislavsky? His interventions?

13. Julia, her background in the school, putting on Titus Andronicus, the blood, the complaints? Returning to England? Her roommate, the audition, Blaise, the opportunity? Her gratitude towards Longfellow? The friendship with Ellen, the pub, the darts and reminiscing? Her decision to help Blaise, the readings, walking in the park, around London?

14. Straight talk from Longfellow, the rules of the theatre, Blaise having to learn? His change, his behaviour with his phone, Sapphire and her calls and texting, Chuck and the bad news about his film? The dinner scene and the improvising? His gradually learning?

15. Longfellow and his admiration? The other members of the cast and their support – and the actor who wanted Blaise to help him break into LA? The discussions with Blaise, in the dressing room, shirt off? At Longfellow’s home, Blaise looking into his childhood, possible resentments, understanding his character?

16. Chuck, to London, the news about the film, recut, the release, the Premiere? The press, control, Sapphire? The moody director? Julia seeing this and disappointed?

17. The filming, in the car, Blaise wanting to improvise, Sapphire bewildered? The tantrums of the director? Chuck, the caravan, putting the option, movie or play?

18. The opening, the crowds, the fans, Clive having to apologise, Longfellow coming on stage, his speech, Blaise arriving? The performance, success? Curtain calls?

19. And the humorous ending, the car chase, Longfellow as the villain, shooting Blaise, “actions speak louder than words�?

RUMBLE IN THE BRONX


Hong Kong, 1995, 85 minutes, Colour.
Jackie Chan, Anita Mui, Françoise Yip.
Directed by Stanley Tong.


If an audience wanted to see an archetypal Jackie Chan action film, then they would be advised to go to his initial Hong Kong career and see the various police stories as well as the martial arts action films. During the 1980s and 90s, he made a number of films in the United States including the Cannonball Run films as well as starring in some actioners but they failed to make him an American star.He also made some entertaining action films in Australia.

With Rumble in the Bronx, the Hong Kong producers hoped to make a film that would be popular in the United States and make audiences realise what a screen presence Jackie Chan was and how intricate his choreography of fights. The story and the dialogue was not ambitious, nor the casting of Americans in the film. However, it was a great box office success and enabled Jackie Chan to move comfortably between Chinese films and American films, the Shanghai Noon films, Around the World in 80 Days, and, of course, the Rush Hour films.

As Jackie Chan got older, he appeared in a number of Chinese films of a more serious and historical nature.

The plot of Rumble in the Bronx is basic, Jackie Chan coming from Hong Kong to New York to visit his uncle who is about to be married, driving through Manhattan in wonder, then seeing the more downbeat aspects of the Bronx. His uncle, thoroughly Americanised, is about to sell his very prosperous market to a young woman, Elaine (Anita Mui, Chinese singer who sadly died at the age of 40 from cancer). The nephew promises to be a support for the new market. His uncle is marrying an African- American and so there is a mixture of styles and African- American beat to the music for the wedding.

In the meantime, gangs in the Bronx have illegal motor races, in the narrow streets, driving over the tops of cars. Local thugs, of many races, participate in these activities. One is a young woman, Nancy (Françoise Yip) who has a brother in a wheelchair whom the nephew befriends.

Once the gangs get going, there is a whole lot of violence in the streets, and the nephew seems to be an easy target after he has done a whole lot of his martial acrobatics when some of the gang shoplift in the market. The thugs corner him in a dead-end and smash bottles at him – and he is rescued by Nancy and cared for.

The various episodes when the gangs want to get their revenge on him, have them going to the market and creating mayhem and destruction. Elaine is very upset, condemning the nephew. He then goes the gang headquarters and causes mayhem and destruction there. Somewhat improbably, the head thug listens to Nancy who asks for some kind of leniency and the possibilities for a truce, combining when they have a common enemy.

Fortunately, there is a common enemy, jewel thieves who are pursued by the Eastern European diamond dealers and their rather huge heavies. The local thug, Angelo, victim of the nephew, hides the diamonds in the young boy’s wheelchair cushion.

This means that the heavies pursue the thugs and the nephew as well. The heavies and their boss are no holds barred and set up all kinds of chains and ropes within the market and completely collapse it.

The plot becomes more and more improbable, the pursuit of the heavies, the cornering of the nephew, his working with the police and wearing a wire, and the heavies escaping on a hovercraft (allegedly in the Bronx but the final credits offer a lot of praise for Vancouver and British Columbia hovercraft – standing in for New York City). There is even more mayhem as the hovercraft goes through the waters, people diving for cover, and then goes on land even more destructively, including running over the nephew and pressing him into the sand. The hovercraft then goes on its way through the narrow streets, pushing aside everything in its path – until ultimately, the nephew sees an antique show and a weapon and slices the base of the hovercraft.

Heavies caught.

But then the hovercraft is patched up, and everyone gets on board and goes to the golf course where the boss is playing golf, he and his entourage are pursued, crushed, and, what else, but happy ending?

Jackie Chan was injured at times during the making of this film as is seen in the clips in the final credits. So were other members of the cast. But everyone carried on.


As regards the action, that is the main thing to be seen, audience admiration for Jackie Chan’s agility, live action, gymnastics, combining techniques of martial arts with standard fights. If you want to see Jackie Chan in action, best to go and see Rumble in the Bronx.

THE UNSAID

US, 2001, and 111 minutes, Colour.
Andy Garcia, Vincent Kartheiser, Trevor Blumas, Chelsea Field, Linda Cardellni, Teri Polo, Brendan Fletcher, Sam Bottoms.
Directed by Tom Mc Loughlin.


The Unsaid is a psychological drama. The title refers to therapy and the difference between what is said and unsaid, body language and personal revelations as well as reticence.

Andy Garcia plays a psychologist who experiences the suicide of his son, blaming himself, and his wife and daughter also blaming him. Three years afterwards, he is separated, living alone, writing books, sometimes giving lectures. At the end of the lecture, a former student, Barbara (Teri Polo) asks his help with a young man about to turn 18 to move from a state institution. At first he refuses but then follows through – the danger being that he identifies the young man with his dead son.

The boy, Tom, is played by Vincent Kartheiser. He has a sad history of his father killing his mother and serving a life sentence.The psychologist works with the boy but there are secrets behind the facade, later visualised for the audience, making Tom a far more complex character. This is also made more difficult when Tom is attracted to the psychologist’s daughter.

The audience sympathy moves between feeling for Tom and repulsion at some of his behaviour, some especially violent behaviour. There is a final, rather American, melodramatic episode including car chase and stand-off with guns.

But, audiences will be saddened by the revelation of the truth about Tom and his mother’s death and the sexualising of the relationship between mother and little boy as well as the psychologist’s son and his having been abused by his own therapist – topics which were to become more openly treated in the years following this film.

1. The title? Therapy, spoken, body language, reticent and restrained?

2. US midwest, the town, homes, school, institutions, industry? The musical score?

3. The prologue, Michael and the interview, expression of secrecy? The later revelations about Tom, his father and the secrets? Michael, Kyle and his secrets?

4. Michael in himself, his work, his family, his son and playing handball, the refusal to go to the concert? Trying to deal with him? Knowing not to pressurise him? The son slamming the door in his face? His daughter, the concert, her performance, enthusiasm, taking the video? Intercutting with Kyle, going to the garage, setting up the car, his suicide? The family returning, anxiety and grief?

5. Three years passing, Michael retired, growing the beard, living alone, his wife blaming him for the death? Writing books? Going to give a lecture, his information, the case study, body language, what is unsaid?

6. Barbara, past student, her request? Tom, the file, his putting it in the wastepaper, his dreams, his son, taking the file out, reading, going to the visit, Tom in the kitchen, the ordinary conversation, tasting the food?

7. Tom, his appearance, almost 18, about to leave the institution? The discussions, interviews, Michael’s visits, Tom’s response? The effect? The effect on Michael?

8. Tom’s story, the flashbacks, his mother and her sexual activity, the visuals of the father arriving home, confronting the mother, killing? The indication of the man escaping? Michael and his visit to Tom’s father, the truth, the father taking the blame for his son? The visual flashback, Tom and his mother, sexual, Tom naked in the cupboard, the police, the photograph?

9. Tom, friends at school, the loner, going to the party, observing, Chloe and her approach, the come on – and his punching her? The later information about her death, the police investigating her murder?

10. Shelley, her living with her mother, studies, contact with her father, keeping her distance, Troy as her boyfriend, at the party, finding him kissing another girl, his protests, the encounter with Tom, his walking her home? Talking about her parents, passing their home, going in, the telling Tom about Kyle? Try attacking Tom, Tom injuring him in the car door, the students applauding?

11. Michael, therapy, interactions, getting Tom to express himself, calling him Kyle? The sharing, ordinary things, hopes for his betterment?

12. Michael, the visit to Tom’s father, finding out the truth about Tom and the killing? Telling Barbara? His being wary?

13. Michael confiding in Tom’s father, Kyle’s secret, the flashbacks, his being abused by the therapist, the therapist as Michael’s friend, his rage after Kyle’s death, confronting the man and his shooting himself?

14. Tom, wanting to get out, hearing about the police? Going to see Barbara, her confronting him, his bashing her? The car, going to pick up Shelley? Shelley and her anger at her parents, going with Tom? The chase, Michael in the car, the crash, the police, Tom with the gun? Michael persuading him to put down the
gun?

15. His surrender, the final sequence, in prison clothes, coming to therapy, asking about Barbara and Shelley? And the prospects for his becoming better?