LIKE CRAZY/ LA PAZZA GIOIA

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…?

NO. 2

New Zealand, 2006, 95 minutes, Colour.
Ruby Dee, Mia Blake, Xavier Horan, René Naufahu, Miriama Mc Dowell, Taungaroa Emile.
Directed by Toa Fraser.

A fine New Zealand film about Islanders and their families living in the Mount Rosskill suburb of Auckland.

At the outset it could be described as a Southern hemisphere Babette’s Feast in a suburban backyard. While it does not have the solemn and mystical tones of the Danish story, it has the same message. It is a joy to prepare a feast, to invite those close to us, especially when there is hostility between them, and find that food and celebration are able to evoke love, understanding and forgiveness.

No. 2 is the number of the house in the street where Nana Maria lives. Originally from Fiji (with some evocative scenes and photos from that past), Maria and her husband, who served in Sicily in World War II, settled in Auckland and brought up their family there. Maria thinks it is time for her to name her successor as the one responsible for the extended family and to bequeath her house to someone who is a carer and a giver.

Not that Maria is your sweet little old lady. Far from it. She is a very strong-minded matriarch, dominating her own children though wary of them, but devoted to her grandchildren. It is they who are to obey her sudden summons to have a feast, to celebrate and enjoy living. Veteran American actress Ruby Dee (whose husband, Ossie Davis, died the day she arrived in New Zealand, requiring her to return to the US – but she came back a fortnight later), though very small in stature and around 80, is marvellous as Maria.

The film is not about Maoris. Rather, the islanders, descendants of Europeans who took local wives, are Polynesian. This family is Catholic (with an extraordinary parish priest who is very much the kindly elder) but traces of old traditions pervade their lives and mentality. The family have settled into the prevailing New Zealand culture and lifestyle but still value family. No. 2 celebrates family.

Toa Fraser originally wrote the play for a one woman performance of every role. He has opened it up for a film without any trace of theatricality. It is a film one could recommend anyone to see. Quite an achievement for a first film.

1. The story of a family? Fiji and background? Living in New Zealand? The Polynesians in New Zealand?

2. History of New Zealand, settlement, the Maoris, the Polynesians, the different islands of the Pacific? Migrations?

3. The city of Auckland, the suburbs, the ordinary streets, homes? The musical score?

4. Big families, the role of the matriarch, in the 21st century, the traditions from the 20th century? The religious dimension?

5. Nanna Maria, Ruby Dee as an American impersonating a Polynesian? Her age, the range of the family, each generation, the significance of the grandchildren? Her fears about the family, thinking the spirit had gone out of the family, that they had lost traditions? The decision to do something about it? Has strong-minded character?

6. Gathering the grandchildren, the variety of characters, men and women, interactions? Her decision that they should put on a feast? To choose
her successor?

7. The personalities of the grandchildren, Tyson and his relationship with the Danish Maria? Soul? The day itself, the loss of the traditions, even
the roasting of the pig? The drama, the conflicts, personalities?

8. Nanna Maria, her becoming frustrated, the decision to call the whole thing off? The impact on her children, her grandchildren, their banding together, creating the atmosphere, the food, the gathering? The success of the feast?

9. The traditions of celebration, the wider family, the re-creation of family spirit? Hopes for the future?

THE FENCER/ MIKKAILIJA

Finland, Estonia, Germany, 2015, 99 minutes, Colour.
Mart Avandi, Ursula Ratasepp, Lembert Ufsak.
Directed by Klaus Haro.



Actually, the title is quite literal. The central character has been a fencing champion earlier in his life.

And, actually, there is a fair amount of fencing in the film, with the hero himself, his teaching youngsters at school, and, finally along the lines of many sports film, a competition where the underdogs have to prove themselves.

But, that said, there is so much more to the film. It is a coproduction between Estonia, Finland and Germany, principally set in Estonia.

The prologue informs us that the the Nazi occupation of the Baltic states meant the conscription of a lot of young men to work and fight for the Germans. In the aftermath of the war, and Estonia being part of the Soviet Union, Stalin set his secret police to search out and arrest these young men.

The setting for this film is the school year, 1952-1953. We arrive in a remote Estonian town with the hero, the camera following him down the drab streets, his immediately going to the school principal’s office where he is to teach and to coach the sports club. The principal is one of those bureaucratic types, power in a small pond, later explaining that he always did what was expected of him by the authorities. And he has a younger assistant, one of those incessantly toadying types.

The hero, Endal (Mart Avandi) is in his late 20s, obviously hiding himself from authorities. He has been in Leningrad where he has a close friend who gives him advice, especially to stay hidden.

The core of the film is Endel’s work in the school, with a group of children who are poor, some of their families having disappeared. He mends skis but is then told by the principal that they have to share the skis with the local military base. He decides then to unpack his fencing gear and to suggest that some of the children might like to train in fencing – and over 20 turn up for the initial session.

While the children are very loyal, Endal confesses that he himself is very bad in dealing with children, commanding them sometimes severely. The screenplay focuses on a couple of the children, a little girl who showed initial curiosity, Marta, and the young boy, Jaan, who is hurt by Endal and wants to drop out. His grandfather, who studied in Germany, was a fencer and gives his weapons and gear to Endal. The principal of the school decides that fencing is feudal and therefore not appropriate.

A feature of the film is the principal’s meeting with a group of rather subdued parents, an image of the Soviet Union and government, but with the parents surprising daring, raising hands very tentatively, to support the fencing training in the face of the principal’s opposition. Democracy can achieve some things.

While Endal is very private person, one of the teachers at the school, herself rather reticent, is attracted and the film shows their relationship in a very gentle manner.

The film does end with a fencing tournament, Endal choosing four students to represent the school in Leningrad. He obviously runs the risk of arrest, with the principal present, with military presence, which means that there is a dramatic tension between what is achieved with the young students and what is going to happen to Endal.

In many ways quite low key in its look, in its performances, in its treatment of situations – but very telling nonetheless.


1. Acclaim for the film? A northern Europe co-production?

2. The background of the Soviet Union, audience knowledge, the extent of the Union in those decades, from the Baltic states and East satellite nations? Russia and the experience of the war, Nazi occupation of Estonia, the conscription of young men, the Stalinist police hunting them down? The background of the film in the last year of Stalin’s life, his death?

3. 1953, the drabness of life in Estonia, the outlying town, the railway station, flats and homes, the school, offices, the sports room? The harshness of Soviet life?

4. The people of the town, their drab lives, the children at school, the kids lively, the parents overcome, at the meeting to discuss sport? The principal of the school, his toadying assistant? The contrast with the fencing competition, the variety of teams and their origins throughout the union, the fencing?

5. Information about Stalin and his pursuit of the conscripted young men? Endal arriving in the town, the audience following him, the camera at his back, arriving, the streets, discussions with the principal, preferring to live in a small town, his job at the school, the sports club, the poverty of the club, the skis and having to give them to the military, his past career in fencing, offering tuition, the large number of children turning up?

6. Endal, his personal story, eluding the secret police? His friendship with Alexi, the phone calls to Leningrad? Alexi’s visit, stalking and catching him? The plans? Alexi asking Endal to coach fencing elsewhere? The principal, the strict bureaucratic approach, his assistant doing investigations in playing up to the principal? The fellow teacher, pleasant, the introduction, Endal awkward with her, saying he was not good with children?

7. Audience interest in fencing, this being a sporting film, training, underdogs, victory?� And his past, bringing his equipment? The encounter with Marta, her interest in fencing? The techniques of fencing, the stances, the arm, practice, the children responding, Endal and his severity during classes and his demands? Alexi and the gift of the fencing gear, secondhand? The issue of the competition, Endal reluctant, the challenge? His decision? The training, his choosing of his team?

8. Endal’s personal life, emotions, the encounters with teacher, the hot chocolate, their discussions, falling in love, the tenderness of their relationship? Her not wanting him to leave? The farewell at the station?

9. The range of children, Marta and her interest, Jaan and his interest, being hurt by Endal’s treatment? His grandfather, the grandfather’s career, the gift of the rapier? His arrest?

10. The principal, investigating Endal, presiding at the meeting, dominating with his ideas? His dislike of fencing? His going to the competition? The authorities, the files? The touch of relenting in urging Endal to leave?

11. The competition, the train ride, the children’s joy, borrowing equipment, competing, the detailed encounters? The conventions of sports film and the triumph of the underdogs? Marta and the touch of girl power?

12. Endal’s arrest, being taken away?

13. Stalin’s death, the release of many from the camps, Endal’s return, the children meeting him, the teacher – and the prospects for his life? The information that his sports club had endured for several decades?

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?