GLASSLAND

Ireland, 2014, 93 minutes, Colour.
Jack Reynor, Tony Collette, Will Poulter, Michael Smiley, Harry Nagle.
Directed by Gerard Barrett.

Glassland is a very good film and for those interested in alcohol addiction, the consequences for family relationships, especially mother-son, the film is a must. On the other hand, audiences wanting entertainment will find the film too demanding.

The film was written and directed by Gerard Barrett, age 27 at the time, having made his first feature film, Pilgrim Hill, about a middle-aged farmer and his relationship with his father. This time the central character is a young man, a taxi driver, a decent man who tries his best but is caught up in the need for financing his mother’s recovery and doing jobs collecting young women in his taxi and driving them to specified destinations, something which makes the experience harrowing for him.

He is John, played by Jack Reynor, who won a special Jury prize at the Sundance Festival in 2015 for his performance. Tony Collette, who is reported to have filmed all of her scenes in just six days, gives a tremendous performance as his mother, alcoholic, her son cleaning up after her vomiting, her quiet times, her rages in the kitchen and breaking crockery… But she has an important sequence, well worth seeing, where she explains to her son her marriage, her relationship to her husband, a son whom she has not followed up, her love for John, but her inability to relate to her younger son who was born with brain deficiencies, seeing him as a thing, unable to touch him.

Jack Reynor has a very powerful scene with Tony Collette where he upbraids her for her behaviour, expresses his desperation, makes a plea, a dramatisation of the plight of a young man like this who does care about his mother.

Harry Nagle portrays Kit, seen at the institution where he lives, where his brother visits him, even bringing a card from his mother which he has written for her.

Michael Smiley is also very good as a former alcoholic who runs a care centre, gives advice to John, takes in Jean but has to move her on for further care.

The mood throughout the film is bleak. Some audiences may find it too hard to take. But, it is worth it.

1. A significant film about addiction and mother-son relationships?

2. The director, aged 27, his career, family relationship subjects?

3. The Dublin setting, the house and its interiors, doctors, counsellors, the countryside? The Dublin streets, especially at night? The musical score?

4. The title? Significance?

5. The film as a portrait of John, his age, a good man, his life as a taxi driver, his friends, helping them out, with Shane, at home, playing computer games, not having a passport so not able to leave Ireland with Shane, the strong friendship, the farewell? John and his appearance, at home, waking up, making breakfast, the routines? His love for his mother, the growing concern about her, cleaning up after her? His love for his brother, going to visit him, playful together, bringing a card from his mother? The father and his love, dancing with his mother, disappearing after Kit’s birth?

6. Jean, her age, drinking, being sick, collapsing, going to the doctor, the warning about her health, drinking herself to death, the need for a liver transplant? Her sullenness, her outbursts of anger, breaking the crockery? Her quiet times? Her explanation of herself – memories of her husband, happiness, the older son and her dismissing him from her memory, her love for John and dependence on him, her inability to face Kit, the birth, not wanting to touch him, seeing him as a thing? Never visiting him? The important scene of her frank talk with John and her explanations? John’s important scene and his challenging her, desperate, to persuade her to go for help? Her going, some kind of improvement, the expensive centre for her recovery? Some hope?

7. John, his ordinary life, the hard work, not having enough money, the frank talk with Jim and Jim’s explanation, Jim’s own experience? Helping out with some money? Making an appointment for the recovery centre? Jim as a good man?

8. The effect on John, dealing with his mother, becoming desperate, moments of outburst, love for Kit? The money, the contacts, the human trafficking, collecting the girls, driving them to destinations, the last trip, the girl in the car, his getting out and walking around, trying to come to terms with his life, imagining his mother loving Kit, getting back in the car, driving the girl to the destination?

9. A powerful drama on mother-son relationships? A significant film, especially in the scenes with Jean and John about the nature of alcoholism, the reasons, alcohol as a friend which never lets down, always there, comfort in loneliness? The will to change and the necessary support?

BAD SANTA 2

US, 2016, 92 minutes, Colour.
Billy Bob Thornton, Kathy Bates, Tony Cox, Christina Hendricks, Brett Kelly, Ryan Hansen, Jenny Zigrino, Jeff Skowron, Octavia Spencer.
Directed by Mark Waters.

The original Bad Santa lived up to its name. The sequel, over a decade later, capitalising on (or exploiting) a perceived greater freedom in what can be up there on the screen, to be seen, to be heard, Bad Santa 2, certainly lives up to its name!

Santa is bad in his attitudes (amoral, sexist, racist, criminal – but with a dollop or two of sentiment), in his behaviour, in his language, actually in most things. But, if you do decide to go to see the film, then just wait till you see and hear Willie’s mother.

Billy Bob Thornton is once again Willie Sokes, a criminal type, rather gaunt this time and looking much the worse for wear, with an ability to open safes within three minutes. His mother is having timeout for good behaviour (something which she can charmingly simulate when she wears her Santa outfit) but is a harridan of the worst and loudest kind, having spent most of her time in prison, absolutely despising her son, self-centred, greedy – and anything else you can think of.

Come to think of it a number of the cast also have the opportunity to display some badness, Christina Hendricks is the head of a charitable organisation, attending AA meetings, ready for sex at any time. Tony Cox reappears from the first film, a dwarf actor, frequently the butt of some politically incorrect jokes about height. Even Octavia Spencer has a more lascivious scene than she normally does. However, there is one nice character, Brett Kelly reappearing as The Kid from the first film, now Thurman, a touch of autism, devoted to Willie, seeing good in everyone. He is now 21, follows Willie around, even coming to Chicago to find him when Willie goes to do a job on the safe holding the funds for a charitable organisation for children at Christmas.

Quite a lot of the film is taken up in four lettered repartee (and, often, more than four letters). And, quite a lot is taken up with the bickering, especially between mother and son. Billy Bob Thornton does not communicate a sentimental type on screen and, for the most of the film, it would seem he couldn’t care less – but he does have a soft spot for Thurman, tries to help him, is actually touched by the devotion and, would you believe, his eyes moisten as he listens to Thurman singing Silent Night at the concert.

There is a lot of farce in the robbery and in the getaway and mutual betrayals.

In many senses, going to the film is something of a guilty pleasure – may be more on the guilty than on the pleasure! But, what might keep us watching, even smiling (and even laughing) is the absurdity of it all, but played fairly straight. Unlike a lot of the campus comedies and such films as Bad Neighbours and Dirty Grandpa which invite the audiences in for something of a wallow in the bad and the dirty, Bad Santa is more of a pantomime, not pretending to be realistic at all, but creating exaggerated characters, giving them free reign, jolting us from our expectations of their behaviour.

The film can be described as black comedy – but under the heading of blackbad comedy.

BILLY LYNN’S LONG HALF-TIME WALK

Joe Alwyn, Garrett Hedlund, Vin Diesel, Steve Martin, Chris Tucker, Kristen Stewart, Mackenzie Leigh, Ben Platt.
Directed by Ang Lee.

The title is rather long and may take a moment to grasp, but it is worth the effort.

But this was apparently not the case in the United States where, within a week or more, the film was described as a flop. It has been pointed out that American audiences have not responded particularly well to the films made about the invasion of Iraq and the subsequent war, even the Oscar-winning The Hurt Locker, and not being a financial success. It is the action films which draw to the box office, like American Sniper.

This is definitely a film about Iraq with some close-ups of a particular action which involved Billy Flynn, the young recruit from Texas who had a rowdy adolescence with his father forcing him to enlist. Billy has shown some heroism in trying to rescue his wounded sergeant, which was filmed and has become a sensation in the media, leading to an entrepreneur bringing back the Bravo troop to do a morale-boosting tour which is to culminate at the half time interval in the arena at a Dallas football match.

This means that the film is definitely a piece of Americana, a glimpse of the war and battle and its effect, post-traumatic syndrome and the military wanting to deny this. It is a piece of Americana in the focus on the football match, all the hoopla, the cheerleaders, the dancing girls, including Destiny’s Child and (Kristen Stewart) who has facial and other scars from an accident he caused but who still supports him, wanting him to come home and not go back to Iraq. There are several flashback to the action, quiet bonding with the sergeant, a replay of the episode, especially at the end when it is seen in close-up, what Billy did and the combat with the Iraqi insurgent who attacked the sergeant.

So, while we see the men and their life in Iraq, Billy finding his place in the world as a soldier (and a fine performance from British Joe Alwyn as Billy), with the sergeant (a good role for Vin Diesel neither being fast nor furious), for the leader of the troop (Garrett Hedlund very serious about the war and the spirit of soldiers and rather resenting the carnival atmosphere of the show and the half-time walk), we see the producer (Chris Tucker also in a better role than his usual comic patter) and the businessmen sponsoring the show, the team as well as plans to make a movie of the episode – played by Steve Martin.

The romantic episode with a Christian cheerleader is less persuasive.

Audiences outside the United States will probably respond better to the film. The screenplay, and its presentation of a variety of characters, shift perspective pro and con the war, the criticism of the war, the celebration of military action.

And all this is the work of director Ang Lee who has had an extraordinary career for over 30 years, winning an Oscar for Crouching Dragon, Hidden Tiger, filming Jane Austen in England with Sense and Sensibility, winning directing Oscars for Brokeback Mountain and for Life of Pi, and showing insights into the United States with films ranging from Ice Storm, the Civil War drama, Ride with the Devil, and Taking Woodstock.

Lee used an experimental technique, 120 frames per second, which led to clearer content in each frame – but this was used only in two cinemas in the United States and, with the failure at the box office of the film, it has been screened in standard style both in the US and outside the US.

A film worth reflecting on and discussing, testing attitudes towards the upheavals in the Middle East.

1. The title, the tone, its meaning? A film about Iraq and the Middle East? About the United States? War, morale, the consequences?

2. The director, his perspective on American society? The range and variety of his films?

3. The locations, the settings in Iraq, in Texas, homes, the football stadium, offices, the field? The pageantry? The musical score, the range of songs, Destiny’s Child, the Star Spangled Banner?

4. The experiment in the film making, 120 frames per second, the content of scenes – but this format finding very limited exhibition?

5. The film as a piece of Americana, of the 21st century? The background of the invasion of Iraq? Weapons of mass destruction? Toppling Saddam Hussein? President Bush and American involvement, allies? The effect on Americans? For and against the invasion? The effect on patriotism? The effect on the military personnel, stress and strain, involvement, post-traumatic stress? The effect on the Iraqis themselves? Seeing the soldiers in action – the raid into the home, the behaviour of the American soldiers, the family inside, suspects, guns, arrests, disappearances? The Iraqi fighters and insurgents?

6. The structure of the film, the focus on the event, the day, the football match, the half-time? Introduction to Billy, Dime and the men? Albert as the agent with his patter? Norm, the businessman, his wealth, plans? The effect on the men, the banter? Billy as the focus? The audience sharing his point of view? The progress of the day, the flashbacks, Billy and his home, Kathryn, the past and the accident, her scars, Billy’s reputation, his father enlisting him, going to Iraq, the squad, the sergeant, Dime? The situations in Iraq – the cumulative effect of the flashbacks?

7. The day in Iraq, his saying it was his worst day and yet honoured for it? The situation, the attack, the sergeant, the shooting, the snipers? The sergeant advancing, being shot, Billy advancing, listening to him, dragging him into the drain, the attack by the insurgent, Billy killing him? The build-up to the final visualising of the sequence?

8. The men as celebrities, American razzmatazz? Billy being filmed, audiences seeing the visuals of his heroism? Albert, the agent, on the phone, the deals, wanting to make the movie, his being with the men, the discussion about payment? The group going into Dallas, the limousine, Billy late? The camaraderie, the banter, the range of personalities, the ethnic differences? Dime and his command?

9. Going to the performance, their seats, the banter, movement, the clash with security? People greeting them, changing into fatigues, the explanation of positions on stage, the screens, the fireworks, the cheerleaders, the marching girls, Beyonce and Destiny’s Child? The applause?

10. For Americans, to what purpose this kind of spectacle?

11. The flashbacks to Iraq, the men, the sergeant, early talking personally with him, the good example, the effect, Billy and his stand alone on stage, Kathryn wanting him to stay home, Dime wanting him to return to Iraq?

12. The family, the father in his wheelchair, Kathryn, the past, Billy as rowdy, the accident, her scars, his father enlisting him? Kathryn phoning him, at the end, her meeting him, his leaving?

13. The cheerleaders, the girl, looking at Billy, the attraction, his smile, his nervousness, meeting behind the curtain, the talk, she being both sexy and devout Christian, Texan? The encounter? Later, his wondering about her, she coming to see him – and future contact?

14. The making of the movie, Albert and the deals, promises of cash, Norm, his wanting to make the film, the big man, in control? The meetings, Dime and his resistance, tough talk? Billy agreeing? Going back to the men, explaining the situation?

15. The day and its effect on Billy, on him and his family, on Kathryn, his decision to go back, finding his right place in soldiering?

16. The effect of the day on the other men? The end of the day, no movie? But the future?

17. The response of audiences, pro-war, anti-war? In the effect on soldiering and returning veterans?

I AM SAM


US, 2001, 132 minutes, Colour.

Sean Penn, Michelle Pfeiffer, Dakota Fanning, Dianne Wiest, Loretta Devine, Richard Schiff, Laura Dern, Brad Silverman.
Directed by Jessie Nelson.

Today's headlines are filled with problems about children and about family. Here is a Hollywood film, full of feeling, which looks at children and family and takes a positive stance on life and values. Because Americans tend to wear their hearts on their sleeves, some audiences may find this film overly emotional. But it would be a pity to miss the message.

The title of the film comes from the ending of a Dr Seuss story that Sam likes to read over and over to his young daughter, Lucy. However, this is no ordinary father and daughter relationship. Sam has the mental age of a child of seven. A chance, ignorant encounter with a stranger has resulted in the birth of Lucy. Her mother abandons her instantly and disappears. Sam is a loving father and manages to raise his daughter with help from a housebound neighbour (Diane Weist), the support of his boss at Starbucks where he waits on tables and four of his equally disabled friends. Lucy is cared for with love and tenderness and grows into a charming and intelligent seven year old.

It comes to the attention of welfare that Sam is not able to cope with his daughter and that she is deliberately holding back at school so that she will not become more intelligent than her father. What follows is Sam's struggle with the courts to persuade them that he is a good father and can offer his daughter the love she needs.

The early part of the film shows a great deal of Sam and Lucy. I think some of the audience were more than a little uncomfortable watching someone so obviously limited being what to the outsider might seem an awkward and childish father. But Sean Penn's intense performance gradually draws us in so that we understand Sam better and feel for his pain at losing Lucy.

At this point the film introduces a character who is the exact opposite of Sam: his lawyer. As played by Michelle Pfeiffer, she is tough and ambitious on the surface but vulnerable deep down. She has a seven year old son who cannot relate to her and whom she resents. She is shamed into taking on Sam's case pro bono and this begins for her a letting go of her frantic and busy lifestyle in order to understand people better.

While sentiment is on Sam's side, the court scenes are written to help the audience see how strong the arguments are that Sam cannot help educate Lucy in the way that an ordinary girl needs to grow. We are forced to ask ourselves what is the best for Lucy, a caring foster family who will help her grow into a well-balanced and educated woman, or a loving father who has been father and mother to his daughter despite his limitations.

Dakota Fanning is perfectly cast as the seven year old who is superior to her father but loves and depends on him. She has gone on to prove herself one of the most talented of child stars. The West Wing’s Richard Schiff stands out as Sam’s weary and dedicated prosecutor. Laura Dern is Lucy’s adoptive mother.

Director Jessie Nelson brings a feminine perspective to her story. Her previous films and writing show her preoccupation with themes of contemporary families: Corinna, Corinna, Stepmom and The Story of Us.

The film would be over the head of young children, although they could identify with Lucy, but I Am Sam would repay discussion between parents and older children.

1. Audience response to the film? The characters, their situations? Disabilities? Mental limitations? A Hollywood film – feeling and sentiment?

2. The Starbucks background, the placements? The streets, homes, school, the courts and offices, foster homes? The musical score?

3. The title, the quote from Dr Seuss? As spoken by Sam?

4. The Starbucks sequence, the boss, Sam hurrying through the streets, the hospital, the birth of the child, the mother not wanting the child, the casual encounter with Sam? The bus stop? Sam and the baby? The background for the rest of the film? Lucy, called after the Beatles song?

5. Lucy at age 7? The importance of Annie as the agoraphobic neighbour, friendship with Sam, her continued care for Lucy, affection?

6. Sam at work, the customers, support, his four friends, their disabilities? He learning about food, at work, leaving Lucy at home, the care?

7. The years passing, Sam and his coping, practical abilities yet with the mental age of seven? Talking with Lucy, the differences, Lucy and her going to school, playing with the children, the arrogant student and his father, her talking and reading, school preparation? The effect on Sam, on her, her realisation of her abilities compared with her father? The drawings? The teachers, helping her? Her not wanting to be better than Sam?

8. Sam, the encounter on the street, the police taking him in, not believing him, holding him against his will? The social worker, concern? The courts? The decision that Sam was not able to look after Lucy, the effect on each of them?

9. Lucy, taken away, the foster home, the father? Going to the courts? Randy and her looking after Lucy? The planned escape? Randy talking with Lucy, trying to cope, talking with Sam? Sam bringing Lucy back? Randy’s testimony in his favour?

10. The four friends, their background, conversation, the video, quotations?

11. The phone call, Sam going to the office, the interview with Rita? Her reactions? Her personality, brusque, her home situation, her philandering husband, separation or not? Clashes with her son? The decision to take on the case, pro bono, the effect on her?

12. The discussions with Sam, the interviews, and his reaction, the Starbucks people? Sam, Rita, making the coffee? Rita priming Sam, the rehearsals? The suit and the splash?

13. Rita in court, prosecutor, the judge, the arguments, the attack on Sam, humiliating him, hurtful expressions? The decision?

14. Sam at home, the son and the attack, the absent husband, Sam’s observations for Rita? Her decision and the aftermath?

15. Randy, the reality of the situation?

16. The audience having to look at the objective facts and the principles? At the human and humane dimension?

17. A satisfying finale, sport, Sam, Lucy, Randy and Rita and her son?

BEHIND THE RED DOOR

US, 2002, 105 minutes, Colour.
Kyra Sedgwick, Kiefer Sutherland, Stockard Channing, Chuck Shamata.
Directed by Matia Karrell.

Behind the Red Door is a very personal film from television director, Matia Karrell. The film is dedicated to her brother, called Roy as is the central character in the film, a gay man who worked at Bloomingdale’s in design and died of AIDS.

Kiefer Sutherland portrays Roy, a gay man with a high profile and very wealthy, autocratic in his studio work with photographers, meeting his sister, Natalie, played by Kyra Sedgwick, after 10 years of alienation, she being persuaded by her agent Julia, Stockard Channing, to work for her brother.

There is a complication, seen in black-and-white flashbacks, about the harsh treatment of the two children by their father and the mysterious murder of their mother.

Pressured to stay to visit Roy, Natalie is resentful, wanting to go back to New York and her photography work. Roy reveals that he is terminally ill, that he has AIDS and that he wants Natalie to stay with him. Initially reluctant, she does stay, helping Roy through his illness, his tender moments of reconciliation with her, his autocratic outbursts. But she herself is helped to come out of the hold that the past has over her, asking a detective to see the file about her mother’s death, eventually going to see her rather brutal father.

There is a great deal of pathos about the film, about Roy and his life, his regrets, the death of his partner, his terminal illness and how he faces it. And there is pathos in Natalie’s experience, overcoming her past and facing a better future.

1. A film about AIDS? Illness, care for the sick? Death? Comparisons with other films about AIDS? The memoirs of the 1980s? This film at the beginning of the 21st century? In the light of the AIDS experience and development in treatments?

2. The work of the director, a memoir of her brother, his name of Roy, working in Bloomingdales? The film as a tribute to him?

3. The New York settings? The Boston settings? The city, the views, offices, homes, hospitals? The beach? An American atmosphere? The musical score?

4. The title, its tone? The explanation of the red door keeping out difficulties, keeping people safe inside?

5. The introduction to Natalie, highly strung, photographer, her working with Julia as her agent, her reclusiveness, Julia getting her the contract, going to Boston, discovering that it was work for her brother, Roy? Her wanting to leave, antagonism?

6. The flashbacks throughout the film, black-and-white, Natalie as a child, with her mother, the brutality of her father, her mother’s death and her being absent?

7. The introduction to Roy, his manner, autocratic, the setup of the scenes, the photography, his demands? Relationship with Julia? With his assistant? The photographers? Getting Natalie to take the photos?

8. His demands on Natalie, the memories of the past, his disdain for his father, memories of their mother? Insisting on Natalie coming to his apartment, to come to his birthday party, criticising her for being late, no gift? Insisting that she stay? His preparing the breakfast? Her anger at her following her brother’s insistence?

9. His revealing that he was sick? His past, 10 years in not seeing his sister, his relationship with his partner, the partner’s death, the cremation of the ashes, his not telling anyone? His attitude to his own being gay?

10. Roy and his work, getting back after the hospitalisation, his demands about the photos? His deterioration in health, his demands, in hospital, the medical staff? His growing reliance on Natalie and her staying? The range of his moods, the tenderness, the manifestations of the autocratic? Confined to bed, the temperatures, the nurses and the interventions?

11. The effect on Natalie, getting to know her brother, compassion being elicited, care for him, cooking, watching for him, coping with the illness, the doctors?

12. Her curiosity about her mother’s murder, going to the police, getting the file? Eventually going to see her father, his work in the shop, his disdain for her, a brutal man, his disowning his son?

13. Julia and her visits? The assistant, her haughtiness, the glimpse of Roy telling her the truth? The Paris plan?

14. Roy, his deterioration, Natalie trying to encourage him, the possibility of going to Paris?

15. Roy’s dying, his last weeks in the comfort of Natalie’s presence? The funeral, his ashes, Natalie scattering them?

16. The impact of the AIDS epidemic, especially in the United States, those ill, the dying, the fears (and the blood on Natalie), later perspective on the AIDS epidemic?

PROXIMITY

US, 2001, 86 minutes, Colour.
Rob Lowe, Jonathan Banks, Kelly Rowan, T. C. Carson, Joe Santos, Mark Boone Jr, David Flynn, James Coburn.
Directed by Scott Ziehl.

Proximity has some rather good ideas behind it but, as it moves on, it becomes one of those frantic pursuit thrillers, emphasising the action more than the implications of the theme.

And the theme is significant, suggested in the opening sequence with James Coburn as a rich businessman whose wife has been killed in an accident and whose killer has succeeded with court appeals. It emerges that he has set up a scheme, going to the families of the victims of accidents, getting large amounts of money from them, with an arrangement with a warden and his guards to kill targeted perpetrators.

Rob Lowe plays Will, a professor, guilty of manslaughter because of drink and the death of one of his students. He is about to be released but a fellow prisoner alerts him to the number of deaths in the prison – that man is alleged to have hanged himself in his cell. Mark Boone Jr plays the lawyer to whom Will turns after a bizarre experience where there is an attempt on his life but he escapes. He visits his wife and son, he goes with his lawyer to the journalist who covered his case, is pursued by the warden but especially by a demented prisoner and two determined guards.

Will infiltrates the office of the businessman, takes possession of a video, gives it to the journalist and, after some chases and shooting sequences on a train and in a railway station, the businessman is arrested, most of the pursuers are killed – and the professor is reunited with his wife and family who had been abducted.

1. Expected elements of a prison escape thriller, life in prison, on the run? The unexpected elements, the conspiracy in the prison, outside the prison and the families of victims?

2. The city of Cleveland, the prison, the interiors and cells, warden’s office? Homes? Streets and chase sequences? Offices? The train? The musical score?

3. The introduction to Will, in the yard, the information about the number of prisoners killed, his reading, keeping to himself, his cell, the noises in the night, the reaction of the guards? His interview with the warden?

4. In the van, his interview put forward, the sudden attack by Lawrence, the guards, the accident? Will going to rescue the guards, the guns, his escaping?

5. Will and his lawyer, his contacting him, the phone call and the prison saying Will was in the infirmary? Their going to the journalist, his covering Will’s case, the animosity? Getting him involved?

6. The visit home, seeing his son, his wife? The background of his drinking, the flashbacks to the car, the student, the accident? The anger of her parents?

7. The guards, being in the conspiracy, with Lawrence, the pursuit, the chase through the suburbs? The later chase in the car?

8. The character of Jim Corcoran, the pre-credits and his giving advice to the couple, the later revelation of his plan, the seminar and his explanation of his wife’s death, the appeals of the perpetrator? His scheme, persuading the families, their paying over the money, the warden and the guards and the execution of the perpetrators? Will infiltrating his office, looking at the video, taking it?

9. Wills’ giving the video to the journalist? The journalist interrogating Corcoran at the seminar?

10. Lawrence, his intensity, meeting with the warden and his control, the warden being subservient to Corcoran? Corcoran’s promise for him to be on the board, later withdrawing this? His threats? The two guards, relentless, the Catholic guard with a big family and his reluctance? Ultimately not shooting Will? Lawrence, continuing to pursue Will, killing the lawyer, abducting the wife and son? The rendezvous on the train?

11. The train, guns, escape from the train, in the public area, the relentless shooting?

12. The truth out, the role of the journalist? The arrest of Corcoran? The death of the warden, the arrest of the guards?

13. And the happy ending with the family reunion?

SUCK ME SHAKESPEER

Germany, 2013, 110 minutes, Colour.
Elyas M' Barej, Karoline Herfurth.
Directed by Bora Dagtekin.

Not the most attractive of titles! In fact, the German title was more direct: Fuck me Goethe - the Shakespeare a concession to English-speaking audiences.

Film viewers outside Germany may be very surprised to find that it was the biggest money spinner at the German box office in 2014. Maybe it could serve as a revelation about German humour!

In fact, the basic plot is fairly predictable. A recalcitrant prisoner, who turns up at education evenings solely because the hot chocolate is free, is released, contacts his girlfriend who is a stripper in order to find where she has buried his money. She has the coordinates on her phone – only for them to find that a building is now on the site where she thought there were simply laying pipes!. He decides to apply for a job of caretaker at the school so that he can have access to the area beneath the building and drill in order to find his money.

The school principal is harassed, a young teacher is transferred to the most loutish class, feels humiliated and frustrated in her teaching ambitions and the principle asks the ex--prisoner to take over. The students have all kinds of elaborate practical jokes, of an injurious nature for the teachers including the ex-prisoner.

As the film progresses, the new teacher lays down the law though he has shared a lot of the students’ previous attitudes and is pretty slovenly himself, initially couldn’t-care-less. He is also attracted to the put-upon teacher.

After an elaborate series of mishaps in school as well is his drilling underneath the school, there is a change of heart in many of the students, an affirmation of some of their abilities, the expected progress in behaviour and attitudes of the ex-prisoner as well as the students and the staff.

Perhaps some of the mayhem has a humorous appeal to the German audiences, and perhaps the dialogue is wittier in the original language than in the subtitles.

Whatever the case, two years later, there was Suck me Shakespeer 2.

LITTLE SECRETS

US, 2001, 96 minutes, Colour.
Evan Rachel Wood, Michael Angarano, David Gallagher, Vivica A. Fox.
Directed by Blair Treu.

Little Secrets is quite a pleasant film, targeted at a pre-adolescent audience as well as their families, Younger teenagers would probably enjoy it as well but the issues of the film are very much of children, pre-pubescent, although there is an attraction between Emily, played very well by Evan Rachel Wood (who was to have a substantial adult career) and David Gallagher, popular on television at the time. The other central character is a 12-year-old played by Michael Angarano (who was also to have a substantial adult career). Vivica A.Fox is a violin teacher.

Emily has a role in the neighbourhood with a little stand, open on Sundays, where the youngsters line up, almost like a confessional, where they confide their secrets and their mishaps to Emily who charges them 50 cents but then takes their broken pieces and other relics of accidents and misdemeanours and keeps them in a box, labelled. The kinds of secret she hears include the stealing of a cat, breaking crockery, going online pretending to be an older sister, stealing money for sweets…

Emily has her own secret. She is adopted but has not told anyone. However, her mother has become pregnant and Emily feels that she is being pushed aside. She is a talented violin player and is preparing a Mendelssohn piece for an audition.

Complications come with a family moving in next door, David (David Gallagher) attracted, going off to summer camp and becoming involved in a drunken car accident. His younger brother, Philip (Michael Angarano) is 12 and becomes a good friend to Emily.

Philip reveals the family secret about the accident to Emily who, for reasons which are later explained, is aghast at the news of the drinking and the smash. This leads to a revelation and a crisis – but a very good turn done by David and Philip and, after an accidental fall, the birth of her sister, her admitting that she was adopted, all is well.

1. A film for the family? For adolescents, pre-adolescents?

2. The American city, homes, streets, music lessons, concert halls? Mauls, street trams? Atmosphere? The musical score?

3. The title, the emphasis on people having secrets, needing secrets, not betraying confidences, the consequences of revealing secrets?

4. The cast, the young actors, attractive and convincing?

5. The focus on Emily, her age, her relationship to her parents, to her pregnant mother? The reality of her adoption but her not telling people? Her playing the violin, lessons with Pauline, playing at home, playing on the street? The range of pieces, Mendelssohn, the audition and Philip filming it? Playing Brahms Lullaby?

6. Her friends, their going to camp, the video messages? Their code greeting? Her encounter with David and his looking for the escalators? The meeting with Philip, burying the broken chess piece, their becoming friends, talking, his being 12? His learning the piano to play with her?

7. Emily, her stall for receiving secrets, the line of children, the various secrets, keeping broken pieces in bags with their name on? The girl taking the cats? The boy digging for China? The young girl on the Internet in place of her sister? The fat boy and his stealing money, eating? The fact that the children were all confident in telling her, her giving advice?

8. Her mother’s pregnancy, Emily feeling awkward, the mother telling the secret, going to the ultrasound? The father and his secret about not being confident?

9. The talks with Pauline, wanting to go to the concert? Pauline revealing the secret of her leaving the orchestra?

10. Emily and the phone call to Phillip’s parents, the story of the drink-driving, the accident, her hearing the secret, Philip wanting to know the meaning of their code, Emily upset, unable to relate to David?

11. The baby shower, Emily to play, revealing that she knew David’s secret, his being upset with Philip, her retreating to the room, falling from the window, hospital?

12. At the hospital, the mother giving birth? The truth about her parents being killed in an accident, the sentence for the perpetrator, David it is not knowing what to say, promising that it would never happen again?

13. Secrets, the question of whether Emily looked like the new baby when she was born and Emily revealing that she was adopted?

14. Emily closing the store, the children lined up, a change of heart, Philip helping her with all the refunds? Trying to give different advice, looking after the cat, the younger sister telling her older sister about the Internet and promising to find the boy, the little boy digging and finding the huge bones? Philip setting up his own rival stall?

15. Philip and David, Phillip’s idea with the tape he had made, taking it to the audition, her being accepted?

16. A pleasant moral fable with childhood issues that young audiences could identify with?

ROSALIE BLUM

France, 2016, 95 minutes, Colour.
Noemie Lvovsky, Kyan Khojandi, Alice Isaaz, Anemone, Philippe Rebbot, Sarah Girardeau, Camille Rutherford, Nicolas Bridet.
Directed by Julien Rappenneau.

This is a comparatively brief film, about a selection of ordinary people, people who might be considered as missing out on life, living in the city of Nevers. But, it is a joy to watch, a film that could be described as nice in its feelgood effect for the audience. It is practically perfect in its way.

And who is Rosalie Blum? She owns a fruit and grocery store in Nevers and sells a can of crabmeat to Vincent Machot, a 30-something hairdresser, working in a daily routine in a business that he inherited from his father. Vincent has a dominating mother (something of an understatement) who lives in the unit above him, tapping on his ceiling each morning to let him know that she is there and his realising what he will have to do for her that day. Vincent lives are very ordered life, allegedly with a girlfriend but she has moved to Paris six months earlier and keeps cancelling meeting up. His cousin, his best friend, is a philanderer, always wanting Vincent to stand up to his mother.

The film is in three parts, the first part focusing on Vincent himself, the second on a young woman called Aude, the third part on Rosalie herself. By the end of the first part, we have got to know Vincent rather well, quite a sympathetic man in himself, but rather timid, self-contained, bullied by his mother upstairs with her range of dolls and toys and re-enacting fantasy scenarios from her imagination. Vincent has been stirred by Rosalie and that chance meeting, thinking that he had met her before, and then taking up following her, the audience complicit with him as we too want to know more about Rosalie. So, by the end of the first part, we have enjoyed a film that is tres amusant, tres Francais. It gets better.

Aude is 25-year-old who, by her own confession, is lazy, preferring to do nothing but being urged to get a job labelling bottles in he factory, sharing her life with two friends, Cecile and Laura, and sharing an apartment with an extraordinary eccentric showman, Roomies (and seeing his dog, Miranda, whom he wants to perform as a lion is very amusing). Aude does not have much prospect for life, alienated from her mother, a good amateur photographer but having opted out of further education. It won’t spoil anything for the viewer, but it emerges that she is Rosalie’s niece.

As this second part moves on, the film becomes even more enjoyable, one might say deliciously so, as we get the opportunity to look at events and at Vincent from Rosalie’s and Aude’s point of view, revisiting some of the episodes we have already seen – which makes very entertaining re--viewing.

Which means that the third part, focusing on Rosalie herself, offers some kind of revelation – but, better to go and see it all rather than read or hear about it from someone else.

As the film progresses, every seemingly loose thread is connected in a very satisfying way, a happy ending that we weren’t anticipating, another episode that we might have been anticipating but is treated with prudence – and, just as those around sense words coming up on the screen and limber up to exit the cinema and final credits, there is a very good epilogue which ties some further ends together, again not as we might have anticipated.

So, Rosalie Blum herself and the film called by her name is continually surprising.

It will be a pleasing experience to see the film again.

1. A very entertaining film? Pleasingly humane?

2. The French atmosphere, the characters, the situations? Based on graphic novels? The musical score?

3. The title, the focus on Rosalie, observing her, then getting to know her, revelations about her truth? The strength of the cast and their performances – and audiences attracted to them and interested in them?

4. The structure of the film: the three parts, the three different points of focus, audience identifying with each, the initial curiosity, the changing perspectives? The variety of threads – and their all being linked, even to the epilogue?

5. Victor’s story: his age, his appearance, ordinary, bald, bearded? The opening with the cat, the companionship of the cat? Lonely, his mother knocking on the ceiling? Her attitude towards him, the continued attacks and ridicule, his obeying her, looking after her? The story of Marianne, going to Paris, six months away, her cancelling meetings? His routines, waking up, breakfast, cycling, opening the shop, inherited from his father, the range of clients, his work, the gossip? His friendship with his cousin, their discussions, his cousin urging him to date, trying to make arrangements? Victor saying no?

6. Victor’s mother, her appearance, all the dolls, living upstairs, alone, her performances in make-believe, always remarking that she was not crazy? Her demands, her manipulation of her son?

7. Victor, cycling to the shop, encountering Rosalie, buying the crabmeat, forgetting the lemons? His looking, his sense of déjà vu? The attraction, the details of his following Rosalie, in the streets, near the shop, her home, at the bar, the accident with the girl, the men trying to set him up, the bag from the bike, the choir practices, Victor’s phone going off, the census phone call, his stealing her rubbish, reading the letters to Thomas, seeing her go to the prison, the satanic ritual in the woods, crocodile, his running away? His mother complaining about the thieves and the peeing on the floor? His shock at Rosalie making a booking for her hair?

8. Aude, her story, age 25, lonely, good photography, saying she was lazy, the job applications, labelling bottles? Alienation from her mother? The friendship with Cecile and Laura, their rap songs, their attitude towards life, Cecile and her continued pessimism? The revelation that Aude was Rosalie’s niece? Rosalie inviting her out, their discussions about Aude’s mother, what she was like in the past?

9. Rosalie, aware of Victor following her, not wanting to go to the police, her being intrigued, proposing that Aude should follow Victor? Cecile and Laura finding out? Laura and her wanting to be a detective, the phones, the codes…?

10. The effect on Aude, interest in Victor, the puzzle? The audience seeing the various episodes but from Aude’s point of view, especially the accident in the restaurant, the recreation of the satanic ritual, her finding Victor’s cap and later returning it? Going to Victor’s mother’s, Laura on the phone for the statistics, getting in, finding the mother, pursued by her, Laura peeing on the floor, the group laughing?

11. Reporting back to Rosalie? The effect on Aude? Making the booking for the hairstyling?

12. Rosalie as the focus of the third part of the film, getting her hair done, Victor and his puzzle, her deciding to tantalise him by appearing in the street, his eventually speaking to her?

13. Aude, her curiosity, asking her father for the truth about Rosalie, the story of her youth, the robbery, the bad company, going to jail? The birth of Thomas, adopting him out? Knowing where he was but never seeing him?

14. Aude, the attraction to Victor, visiting him, the discussions, explanations – Victor’s mother seeing her and shouting that she was one of the thieves?

15. Aude and the attraction to Victor? The audience expecting him to be attracted to Rosalie? Aude showing him the pictures, her portfolio for the application to school after Rosalie had obtained it? The portfolio of the stories of her following Victor? Cecile and Laura and the happy explanations?

16. The decision to go away to the beach, for Rosalie to see the sea? The lyrical ending with Victor and Aude? Rosalie, the decision to find her son, the audiences thinking that he was in prison but her revelation that she went to prison to help the women there? Seeing Thomas in the street, going to the door, not knocking, leaving the letter for him and walking away?

17. The unexpected epilogue, Victor at 10, the meal, his father, his mother and her severity and tearing up his drawing, his being upset, traumatised – and the image on the television of Rosalie being taken to jai? The reality of the déjà vu?

18. A satisfying film in plotting, performance, different perspectives and the tying up of threads?

LITTLE MEN

US, 2016, 85 minutes, Colour.
Greg Kinnear, Theo Taplitz, Michael Barbieri, Jennifer Ehle, Paulina Garcia, Talia Balsam, Alfred Molina.
Directed by Ira Sachs.

The title sounds are touch twee. But the film is not.

The two little men of the title are Jacob and Tony, the former from a New York family with a Jewish background, the latter from a Chilean family with a Catholic background. They are both 13 years old.

The film introduces us first to Jake, the scene a very rowdy classroom where Jake is quiet, doing sketches. He is something of a loner, a quiet boy, talented with his art. At home, he answers the phone with a stranger calling to say that his grandfather has died – and the consequences affect his whole family.

Jake’s father was not close to his father, the grandfather who died, but has inherited his apartment in Brooklyn, causing a family move from Manhattan to Brooklyn. Below the apartment is a dress shop managed by Leonor, a close friend of the grandfather who has been managing the shop and paying minimal rent. Tony is her son.

And the two boys hit it off instantly, each admiring the other, comfortable in each other’s company, skateboarding or rollerskating down the streets and under the rail overpasses, Tony admiring Jake’s art and expressing a desire to go to LaGuardia? School to train to be an actor – and, perhaps, Jake could go there to study art.

Jake’s father is Brian, an actor, rehearsing for a role in The Seagull. His mother, Kathy, has a psychiatric practice and supports the family financially – a complication when Brian’s sister wants to raise Leonor’s rent and, if she cannot pay, evict her.

Which means that while the disputes go on with the adults, Brian trying hard to take a hard stand, Kathy trying to mediate and Leonor taking tougher stances, the two boys become the victims of the parental arguments – and, at one stage, neither boy talking to his parents.

This is a very short film but strong in its impact. Greg Kinnear and Jennifer Ehle are Brian and Cathy, Paulina Garcia (who played the strong title role of the Chilean film Claudia) is Leonor. The two boys, TheoTaplitz? as Jake and Michael Barbieri as Tony clearly have acting futures before them – and information indicates that Theo Taplitz has already made eight short films and acted as his cinematographer.

The film is co-written and directed by Ira Sachs. Most of his films have a gay subtext or explicit text. This one does not but one wonders about these pre-pubescent boys and whether the quiet Jake will in Sachs’ imagination emerge with a gay orientation. The film just stops, partly sadly, and one wonders about the future of the boys.

1. The title, the focus on the 13-year-olds, a film about friendship?

2. The New York settings, the opening in Manhattan, school, homes? The transition to Brooklyn? The street, the home and the shop, interiors? School? Football practice? La Guardia School? The musical score?

3. The opening and the focus on Jacob? The rowdiness in the classroom, the reaction of the teacher, Jake and his being quiet? His artwork? The phone call about his grandfather’s death? Going to the memorial? His politeness?

4. The transition from Manhattan to Brooklyn, his not wanting to go? The packing, his pictures being thrown out? A quiet boy? Relationship with his parents?

5. The introduction to Tony, their becoming friends instantly? Jake and his artwork? Tony and his football, his wanting to be an actor? Their being together, roller skates and skateboard? Talking, the quality of their bonding?

6. The dead grandfather, his relationship with Leonor, confidante, small rental?

7. The family moving to Brooklyn, the apartment, settling in? Kathy, her psychiatric practice? The financial support of the family? Her timetable? Brian, his acting career, ups and downs, away from home, the audition for The Seagull, the opening night and his performance?

8. Leonor, the situation with the shop, not making enough money to cover the rent? Her strong stands, relying on her friendship with the grandfather? Her hiring help? The meeting with Kathy, the green dress and the discount? Kathy trying to mediate, a strong stance? Brian and his wanting to have talks with Leonor, her avoiding this, the eventual talk? Her strong stand, challenging Brian that he did not have contact with his father? That she was family?

9. Leonor and her lawyer, the discussions, the contract, the penalties, her not having the money, the case for eviction?

10. Audrey, sister to Brian, her strong stances about the shop, about evicting Leonor? Her complaint that she did not have enough money, not left much by her father? Brian having the flat?

11. The boys, the meals, staying overnight? Leonor and her strong stance with Tony, Brian with Jake? No overnights? The boys deciding not to talk to their parents? Over the time? Coming home from the performance? The reaction of each parent, Brian and his anger in the car?

12. Jake and Tony talking? Jake and a solution about going back to Manhattan? This not happening? The for sale notice on the shop?

13. The drama of the sequence in the drama class, Tony and his performance, shouting at the instructor, his attraction to the girl and their discussions, her liking older boys? The dance centre, Jake going, Tony dancing, Jake and his sketching? The intimations of sexuality and Jake being asexual?

14. Jake, continuing his drawings, always one more, the talk with his father, his father urging him for a balance, to have confidence in his talent?

15. Jake, the change of hairstyle, older, going to the school, seeing Tony with a group of actors? His sketching?

16. The open end, audiences wanting to know more about the characters, especially about the future friendship or not between Jake and Tony?