NANNY McPHEE AND THE BIG BANG

UK, 2010, 109 minutes, Colour.
Maggie Gyllenhaal, Emma Thompson, Asa Butterfield, Daniel Mays, Rhys Ifans, Maggie Smith, Ralph Fiennes, Ewan Mc Gregor, Sam Kelly, Bill Bailey.
Directed by Susanna White.

Why are screen presentations of nannies and governesses so intriguing, a Mary Poppins syndrome, perhaps. Governesses seem to be nannies with an education/academic extension to their care and nurturing. Deborah Kerr was a governess at least three times, The King and I, The Innocents (based on Henry James' Turn of the Screw with the sinister side of nannies) and The Chalk Garden. Julie Andrews was also Maria Von Trapp. And there have been assorted nannies (especially in collages of interviews where the least likely and most unattractive candidates were rejected by parents or, sometimes especially, by mischievous children) from Miss Clavel and Madeline to the befuddlement of Margaret Rutherford's Miss Prism in the 1952, The Importance of Being Earnest with her wayward handbag.

And, lately, there has been Nanny Mc Phee - twice.

Nanny Mc Phee is the brainchild of Emma Thompson who wrote both screenplays, Nanny Mc Phee (2005) and Nanny Mc Phee and the Big Bang (2010). She based her screenplays on those of Christianna Brand and her Matilda stories.

Is Nanny Mc Phee the nanny type – or, at least, the British nanny type? And, of course, what is the British nanny type?

Mary Poppins is very precise in her language and articulation, no wasted words (and no wasted syllables in supercalifragilisticexpialidocious), objective at all times, clarifying her use of terms, focused on the here and now (look how she tidies a room with magical Sensing powers), and getting things done in swift spick and span manner. She manages. And, even the lyrics of her songs have this direct quality: 'A spoonful of sugar makes the medicine go down in the most delightful way; a robin feathering its nest has very little time to rest while gathering its bits of twine and twig...' No frills lyrics. (Compare Julie Andrews Austrian nanny in The Sound of Music, and the cuddly emotional melodies and lyrics of My Favourite Things.)

The other British movie governess is Anna Leonowens who goes to Siam: Irene Dunne in Anna and the King of Siam (1946), Deborah Kerr in The King and I (1956), Miranda Richardson in the animated King and I (1999) and Jodie Foster in Anna and the King (1999). These are determined women who know what they want, are not afraid to demand it of the recalcitrant king, and get their way. Though, it must be said, that the lyrics of many of the songs from The King and I show Anna veering towards her feeling function – take Getting to Know You and all the liking going on and 'doing it my way but nicely' and the Siamese children oohing and ahing in response.

Nanny Mc Phee certainly follows these precedents. She is articulate and clear, quietly spoken but none the less determined. Discipline and the learning of moral lessons are her forte – and she does have the advantage, like Mary Poppins, of being able to invoke magical help when necessary. She lists the lessons by number and wears the medals to prove her expertise. By and large, she brooks no nonsense from children or adults (or from her crow whose name is Edelweis!). She comes when children 'don't want her but need her' and departs when children 'don't need her but want her'. And, it is made clear that she is not one for any emotional show and dislikes goodbyes. However, like the children in Mary Poppins who are made to say, 'isn't she wonderful', when she has been ticking them off and urging them to work and to tidiness, so Nanny Mc Phee's former charges remain very loyal to her.

One endearing symbol with Nanny Mc Phee is her face, warts, buck tooth and all. When she appears (in both films), she looks like a dignified crone and scares the children. However, after each lesson has been learned by the children (not to fight, to share, to be brave...), a disfigurement disappears from her face and she finally emerges, black dress, black bonnet and all as the Emma Thompson we know and love.

The film is set during World War II with children in the country and city boys and girls sent to the farms for safety and avoiding the bombs and any big bang. The setting is rather picture-book quaint, idealising those war days – it is the same kind of situation as for the children who venture into the wardrobe to Narnia. But, rural England is more literally down-to-earth (and in the opening with huge emphasis even with Dame Maggie Smith sitting on a large cowpat because she thinks it a cushion and more comfortable!) and is explicitly 'poo-oriented' for child laughs from both children and adults. But, there are still good formative lessons to be learnt. For anyone wondering about the Big Bang itself, a bomb does fall in the family barley crop because a sneezing German pilot overhead jerks his face on to the bomb lever – but the bang (you had better see it for yourself) will probably make the Guinness Book of Records as the largest break-wind explosion in cinema history and as the most constructive use of such a function on screen!!

Nanny Mc Phee is in the business of coming to the help of harassed parents (here Maggie Gyllenhaal sporting a fine British accent and saying 'jolly well...' and things like that) and teaching children not only to behave but have good motivation for their behaviour (otherwise they could end up with the stiffest upper lip and concealed emotions and awful formality with their children as displayed by Ralph Fiennes as a War Office official, a repressed type).

The British nannies get on with a job well done!

1. The popularity of the books, the character of Nanny Mc Phee? The popularity of the first film?

2. Emma Thompson, writing, performance? Her sense of humour?

3. The World War II atmosphere, settings, re-creation of the period, the farm, family life, the detail? London, military offices? The village and the shop? The musical score?

4. Isabelle, her husband away at the war, trying to manage the children, the cousins coming to stay, the mayhem in the house? The different types of the children? Her needing help? The work on the farm? The pressure from her brother-in-law?

5. Hiring Nanny Mc Phee, her look, and nose, disfigurements – and their lessening as the story went on? Her clothes? The British nanny? Interaction with the children, their performances, trouble? Her influence on them?

6. Phil, his gambling, Mrs Biggles, her henchwomen, the touch of the vicious, pursuing him? His saying that his brother had died in the war? Forging the telegram? Norman not believing that his father was dead? The influence on the other children?

7. The picnic, Mr Docherty, the stories about the bombs?

8. Nanny Mc Phee, taking the children to London, the meeting with Lord Gray, the document that their father had died, not believing it?

9. Lord Gray, the issue of his divorce, the complexities, the children, living with their cousins?

10. Phil, his being pursued, the admission that he forged the telegram? His wanting to get his hands on the property?

11. The papers, the bombs, the bomb falling in the field, Mr Docherty and the dismantling of the bomb? Nanny and her raven?

12. The people in the village, the shop, Mrs Docherty – and the link with the past and the first story?

13. Harvesting, everybody happy – and the emotion when their father returned?

14. A very British family story?

INFERNO

US, 2016, 121 minutes, Colour.
Tom Hanks, Felicity Jones, Ben Foster, Omar Sy, Irrfan Khan, Sidse Babett Knudsen.
Directed by Ron Howard.

The poster for Inferno is not wrong. It features Tom Hanks with Felicity Jones behind him racing through the city of Florence. This begins the pattern of novels and film versions of Dan Brown stories, Professor Robert Langdon, an associate, and a quest.

With The Da Vinci Code and Angels and Demons, there was something of a pattern for Dan Brown’s plots: some kind of world-shattering crisis, the deciphering of an obscure code, a race against time, danger after danger, and one of the characters doing a 180° (rather unbelievable, if not preposterous) moral change. This is what happens here.

One of the ingredients that intrigued readers and film viewers but irritated many Christians, especially Catholics, was the focus on the Catholic Church, especially in Angels and Demons. This is not a Catholic story – though there is plenty of an atmosphere of Catholicism with settings in Florence, St Mark’s in Venice – and a Muslim touch with finding an Italian buried in Hagia Sophia.

This time the code belongs to Dante and the Inferno of the title is his – although, the villain of the piece who dies at the beginning of the film!,intends to create and Inferno of death by infection, the purging of half the human race, allegedly for its betterment because of overpopulation and the demand on resources.

This villain, seen in flashbacks, is Zobrist, played by Ben foster, a millionaire who is obsessed by overpopulation and is developing a virulent infection attack for his purposes.

Powers that be from the World Health Organisation come to Robert Langdon, familiar with his Da Vinci and Angels and Demons success, to decipher some illustrations on human bone which will lead to the discovery of where the potential plague is stored and how it will be let loose on the world.

This is the third time that Tom Hanks has played Robert Langdon so he is obviously at ease in the role. But, as the film opens, he is not at ease because he has been injected with drugs, injured, abducted, landing in hospital under the care of Dr Sienna Brooks, played by Felicity Jones (who must have been eager to take on the role after reading the screenplay and its complexities). For most of the film, Sienna and Robert Langdon are on the run, trying to evade pursuit by a murderous policewoman, an African (Omar Sy) who may or may not be their friend, a strange expert in faking elaborate scenarios (Irrfan Khan) and the WHO, led by Elizabeth (Sidse Babett Knudsen). In case we were ever wondering about Robert Langdon and his past and his relationships, the screenplay creates a past with Elizabeth.

And the code to decipher? We are shown Botticelli’s painting of Dante’s Inferno on which some letters have been inserted, leading the searching couple to the museum in Florence, contemplating paintings, looking for the death mask of Dante himself, more pursuit which leads the couple to the roof above the painting galleries (and someone crashing through the roof and devastating a classic painting). Escape from the museum leads to the baptistery in Florence, the finding of the mask, and some instructions (from whom and for what reason!) they find by scraping the back of the mask.

On the train through the Italian countryside, on to Venice, St Marks, some surprising revelations of what has happened and then on to Istanbul. All this very attractive for those who have been there that – and attractive for those who haven’t.

As with the other stories, all this happens very fast, packing an enormous amount of activity and travel into one day, for a grand climax and Robert Langdon saving the world yet again.

Someone remarked that the film is quite close to the book – which might satisfy the legion of Dan Brown fans and provide some pop entertainment for those who aren’t.

1. The popularity of Dan Brown novels and films? Conspiracy theories? Codes and decoding? The thriller style, characters, plot complications?

2. The title, the apocalyptic tone, diabolical? Plague, reducing world population for its own benefit?

3. Dr Robert Langdon, the pattern of his investigations, dangers, codes, decoding, pressed for time, betrayals?

4. The settings in Florence, Venice, train through the countryside, Istanbul? Scenic? Dramatic? The musical score?

5. The focus on Dante, his Inferno, the Botticelli painting? The Florence museums, paintings, the mask of Dante, the Eyes of Death, the baptistery in Florence, the horses outside St Marks in Venice, the tomb in Hagia Sophia, the underground waters, system, pillars?

6. The opening credits? The presence of Zobrist, his talk, lectures, videos, the millionaire, his ideas about population, reducing the population, reconstruction in pain? His being pursued by Bruder? Confrontation, his fall and death? His appearances in the flashbacks, developing his ideas, the fanaticism, his relationship with Sienna, the clothes in her apartment? His urging her to fulfil his destiny?

7. Robert Langdon, the injury, his amnesia, going to the hospital, the blurred flashbacks, Sienna and her work as a doctor, his wound, her personality, clever, aged 9 and meeting him? Tending him, his recovering, bewildered? The policewoman in the hospital – and the audience later discovering this was all staged? Sienna escaping with him, her apartment, ringing the Consul, on the run, the police pursuit, the taxi, his bleeding? His looking at his emails and the information from Ignazio?

8. Going to the museum, contemplating the pictures, the message: cerca and trova, the missing mask, the video of his taking it, the Eyes of Death, going to the baptistery, finding the mask, the message on the back of the mask and the leads? His memories, the approach by Bruder, by Elizabeth? Bruder and Elizabeth and their collaboration, the pursuit? The escape in the museum, Langdon and Sienna going to the roof, the policewoman pursuing, Sienna falling, their getting through the exit, the protest march? Going to the baptistery, recovering the mask?

9. Harry Sims, his character, his company, security, being able to arrange fake scenarios? His working for Zobrist? Motivations? The collaboration with Elizabeth? The pursuit?

10. The trip to Venice, the decapitation of the horses and the explanation, the train ride to Venice, Robert and his flashbacks, memories of discussions with Elizabeth? Under St Marks, the hundred euros to remove the grate? Sienna trapping Robert? The revelation of the truth? Flashbacks of Sienna’s collaboration with Zobrist?

11. Elizabeth, Sims, the explanations, Robert regaining his memory, the doorway, the injection, his abduction? His being given the bone code with its messages?

12. Going to Istanbul, the visit to Hagia Sophia, the tomb of the man who beheaded the horses? Hearing the underground water, going to the cistern, the huge pillars, the concert and the guests, the orchestra?

13. The buildup to the confrontation, the fights, the timing, the recovery of the container with the bacteria? The confrontation with Sienna? The situation being saved?

14. The light touch of the end with Robert returning the mask to the museum?

JOE CINQUE’S CONSOLATION

Australia, 2016, 102 minutes, Colour.
Maggie Naouri, Jerome Meyer, Sacho Joseph, Josh Mc Conville, Gia Carides, Tony Nikalakopoulos.
Directed by Sotiris, Dounoukos.

This is a drama, a dramatisation of a relationship that led to murder and a conviction in the courts in Canberra, a story of the 1990s. Author, Helen Garner, attended the proceedings and wrote a book based on them. This version of the events, drawing on Helen Garner’s work, is not focused on the court except to give information at the end. Rather, it shows the characters and the situations which led to death.

The film was made in Canberra with quite a number of vistas of the city, welcome for those who know it, interesting for those who do not. The main locations are the University as well as some homes and units around Canberra.

As regards the death, the film opens with a frantic phone call for an ambulance, an erratic message, attempts at clarification… And then the film goes into flashback with the phone call recurring at the end, seen in the realism of what actually happened.

Joe Cinque (Jerome Meyer) is first seen at a club, a pleasant young man with his friends, going over to talk with a young woman sitting there, Anu (Maggie Naouri) who accompanies him home. They have a sexual encounter. The film then moves on four years to 1998.

Joe and Anu are still together. He is employed, admired by co-workers, with a range of friends, especially those who were students of the University. But there is something amiss with Anu, some mental disturbance. She confides in some of her friends, especially Madhavi (Sacha Joseph). They have Pakistani and Indian backgrounds. Joe comes from an Italian family, devoted to his parents who are glimpsed during a meal, emphasising Italian bonding, and later after his death.

Anu seems to think that she is being weakened by drugs, especially by one she says Joe recommended to her so that she would become thinner. There are drugs around Canberra at this time, especially in the world of the young professionals and former students, heroin fairly easily supplied.

What gets into Anu’s mind is that she should kill herself – and, in going over and over of this, thinking that Joe should die as well.

There are sketches of some of the friends of the couple, typical enough of the young adults anywhere at this time. They are invited to what is to be a final meal, with Anu’s death and Joe put to sleep. When it doesn’t work out, there is another attempt which has disastrous effects, not for Anu to die, but in her trying to keep Joe sedated, eventually injecting him with heroin.

The film is one of those true case stories but it is also a sobering one and a cautionary tale.

Audiences not familiar with the case may be surprised with the information given at the end, the court case, charges, sentences and the consequences, especially for Anu.

Writer-director, Sotiris Dounoukos, was a student in Canberra at the time and knew some of those involved.

1. Story of murder, love, madness? The true story? The 1990s?

2. An adaptation of a book by Helen Garner, her presence of the trials?

3. The Australian Capital Territory, Canberra, the atmosphere? The University, units, homes? The musical score?

4. The framework, the call for the ambulance, the heroin injection? The frantic message, the voice-over? Seeing Anu and her phone call at the end?

5. The introduction to Joe, his age, pleasant young man, the bar, his friends? His relationship with his parents, Italian, the past accident, the later injury to his father, visits? The meal, Anu unwell? The meeting with Anu, the night, the sexual encounter, falling in love?

6. The passing of four years, his study, work, at the office, success, liked by his fellow workers? At home with Anu, the range of friends?

7. Joe and his ordinary life, love for Anu care for her, the friends, parties, dealing with Anu and her mental state? Her accusations about the earlier drug for thinning? The portrait, her
background, at the bar, talking about her relationships, staying the night, four years passing, with Joe, the deteriorating mental state, the drugs, wanting to be thin, always upset, studies, confiding in her friends, especially in Madhavi? The law and legal studies and the improvising of the court case?

8. Anu and her friendship with Madhavi, the other friends, her depression, her plan, the suicide, involving Joe?

9. The preparing the parties, contacting the friends, their being puzzled, the discussions, the dinner, Joe and the pills, the failure of the attempt?

10. The decision of the second attempt, Madhavi and her reluctance to collaborate? The issue of the drugs, the dealer and her going to him? The discussions with the girl about the heroin? The plan, Joe and his death?

11. The party, the white dress, having more friends at the meal, their talk, Joe and his collapse, the drugs, Anu injecting him with heroin? The coma, his vomiting blood? Her phone calls?

12. The range of friends, characters, listening to Anu, hanging up on her? The girl and her reluctance, threatening to ring the police?

13. The desperate phone call, the ambulance arriving? The arrest?

14. The final information, her being convicted of manslaughter, diminished responsibility? Madhavi and her being charged, acquitted? Anu studding the law in jail, and afterwards, PhD, achievement?

15. A true story, an actual case – the cautionary tale?

THE BRITTANY MURPHY STORY

US, 2014, 90 minutes, Colour.
Amanda Fuller, Sherilyn Fenn, Eric Peterson, Adam Hagenbuch.
Directed by Joe Menendez.

Actress Brittany Murphy died in 2009 under sad circumstances aged 32. She had been a popular screen presence with quite a following. The death at such a young age seemed mysterious and there were some conspiracy theories. This film, made for television, is the equivalent of a fan magazine story, giving some basic information, trying to create characters, looking at the movie situation and stardom, the effect on a person, mental and physical health.

Many critics and audiences have not liked the film, especially for its appearance so soon after the actress’s death and its speculations.

On the other hand, it is fairly straightforward, starting with the press response to Brittany Murphy’s death, her mother and her husband speaking to the press, the mother breaking down.

The film then goes into flashback, starting with Brittany as a little girl, the absence of her father, the devotion of her mother which continues throughout her life, her mother her best friend, constant companion and guardian, but able to be manipulated by her precocious daughter.

Amanda Fuller plays Brittany Murphy, not like in looks, and not quite creating the powerful screen presence that the actress really had. Sherilyn Fenn is persuasive as her mother and Eric Peterson is the ambiguous photographer whom she marries, Simon Conjack. Adam Hagenbuch plays Ashton Kutcher and bears resemblance to the actor.

She performs in a play at school with her best friend, a much more glamorous child, but is asked by an advertising agent to appear in a commercial, pressurising her mother to consent. The mother is initially reluctant and wants a one-off. The commercials continue but Brittany takes acting lessons and wants to go to Los Angeles, again persuading her reluctant mother who sells cookery material from home by phone.Brittany shows what a good actress she is by an instant phone sales.

In Los Angeles, she has an agent, stars in the television series Murphy Brown, goes for an audition for a role in Clueless, thinking she has not won the role but finding that she has. She performs but is self-conscious, alarmed at being ridiculed for being pudgy, befriended by Alicia Silverstone, the star, but all the while Brittany Murphy making for comparisons with herself, her appearance.

The film shows the life of mother and daughter in Los Angeles, the response of the press, her transforming her looks, dying her hair, trying to be more glamorous – and a continuity of roles including a thriller with Michael Douglas, and a comedy with Ashton Kutcher with whom she begins a relationship. While this continues, the two seem very different and break up.

In the meantime, a British photographer, a touch larger and ungainly, befriends Brittany, helps her in some crises, warns her about the press turning against her. He continually reappears, and she begins to depend on him. They date, have a relationship – but she is warned very strongly in a restaurant by woman who reveals to her that he is a conman and financially in debt. She does not want to believe this, continues the relationship and eventually they marry.

A lawyer warns her and her mother about the truth of the accusations and he finally admits the truth. He wants to reboot her career, giving her scripts, arranging for a film to be made in Puerto Rico where they go but she is so disturbed that she is fired.

She has a heart murmur, has some dizzy spells, is on medication, and antidepressants. She does not want to see a doctor, despite her mother, and is alarmed when her husband has a mild heart attack.

Brittany Murphy was found dead on the floor of her apartment – the media had speculated that she was a drug addict but the film points out that she took only prescription and over-the-counter drugs and there was no sign of illicit drugs in her home or in her system. Her husband died some months later – leading to speculation that they had both been poisoned.

The film offers a sketch of Britain Brittany Murphy’s personality, life and career – but at a popular television movie level.

SHANK

UK, 2010, 90 minutes, Colour.
Kedar Williams- Stirling, Adam Deacon, Ashley Thomas, Michael Socha, Kaya Scodelario, Colin Salmon, Robbie Gee.
Directed by Mo Ali.


Shank, on the London streets and with the gangs, means a knife cut. The London streets shown here are five years ahead, in 2015. And a dismal and dingy place London is. Food is scarce and gangs look for food supplies and loot them and use them for power and control.

The avowed intention of the film-makers is to show the ugliness of street violence and to take a stand against it. One of the difficulties of this kind of film is how much violence to portray to make the anti-violence stance. And there is some violence here – although it shows it as vicious and repugnant.

It is not as if this kind of story has not been told before, but each generation is entitled to offer their interpretation. So, while there is nothing new apart from the future setting and the food issue, the film is made with quite some professional craft. It looks good, is well acted. It is 2010 contribution to the arguments about weapons, gangs and violence in the UK, especially in London.

1. The title, weapon, violence?

2. London, 2015, futuristic perspective, the streets, anarchy, government? Atmosphere? The musical score?

3. Society, collapse, government, economy? Images of collapse? Pessimism?

4. Audience response, repelled by the characters and violence, language, insight into collapsed society?

5. A focus on gangs, their age, The Paper Chaserz, Soldiers, male-oriented, teenagers, the leadership, the characters, the range of names? Violence, The Paper Chaserz and nonviolence, non-killing? The clashes and fights? Macho attitudes? Sexual harassment?

6. Junior as the focus, his age, voice-over, comments, relationship with his brother, Rager, characters, belonging to the gang, the code of not killing, the decision to rob the van, the various members, the execution?

7. The contrast with Soldiers, violence, bloodthirsty, the leader and his control, the theft, the violent clashes?

8. Junior, cornered, treatment by the gang, Rager and his beating the Soldiers? Tugz, the shank, stabbing Rager?

9. Junior, the gang, continuing, vengeance, stealing the BMX?

10. Exploitation or Insight?

THE BACKUP PLAN

US, 2010, 104 minutes, Colour.
Jennifer Lopez, Alex O' Loughlin, Eric Christian Olsen, Anthony Anderson, Melissa Mc Carthy, Tom Bosley, Linda Lavin.
Directed by Alan Poul.

This may be one of the screenplays that Jennifer Aniston turned down. And she would have been more effective in it than Jennifer Lopez – though Jennifer Lopez was pregnant with and gave birth to twins in real life.

The first premiss of films like this remind us of what a topsy turvy world we live in, especially in the personal morality areas. Zoe (Lopez) desperately wants to have children, the clock is ticking, she doesn't think any of her men friends would make good fathers, so in a consumerist culture, she goes out and buys some sperm and has herself inseminated. She also joins a support group for single mothers. (The advertising makes the point about falling in love, getting married, having a baby but not in that order.)

Having made this decision and relying on support group rather than father or father-figure, she goes and falls in love with a handsome stranger (Alex O' Loughlin) who got in one side of the cab she hailed as she got in the other. Fate brings them together again and the film turns into a romantic comedy, punctuated by a lot of detail of pregnancy, physical health and bodily functions. After seeming to fall out with her group, after being wary about trusting Stan, after being urged on by her nana (an energetic senior about to be married to a 93 year old in the home – played by Linda Lavin and Tom Bosley), after getting a lot of pep talks, Zoe turns the film into a pro baby, pro love, pro marriage comedy.

1. Variation on romantic comedy? Babies, love, marriage – in that order?

2. The title, a character called Zoe, meaning life? Her life, wanting pregnancy, her plan?

3. The American city settings, apartments, the streets, hospitals, gynaecologists? The musical score?

4. Jennifer Lopez as Zoe, age, isolated, her hopes, enquiries, procedures, not relying on the father, the sperm bank?

5. The procedure, her meeting Stan, the taxi, the credibility of the instant relationship, falling in love, clashes, marriage?

6. The expense of pregnancy, the support group – and the various members?

7. The birth scene, long, illustrating pains of birth?

8. Zoe’s background, the grandmother, the nursing home, preparing to marry, the 93-year-old room, the ceremony?

9. Stan, his character, background, cheese, academic? The discussions with his friend at the playground, prospect of kids?

10. The blend of sentiment, comedy, the message – how successful for its audience?

PSYCH: 9

US, 2007, 98 minutes, Colour.
Sara Foster, Cary Elwes, Michael Biehn, Gabriel Mann, Colleen Camp.
Directed by Andrew Shortall.

Quite a creepy film for those who enjoy feeling uncomfortable and fearful at the movies.

The setting is a hospital due for demolition. The only activity is sorting out files – and, of course, the leading lady, Roslyn (Sara Foster) takes on the night shift (her husband, Cole (Gabriel Mann) drives taxis at night, so this gives them some time together). The reason for anxiety is that there is a serial killer on the loose (which is how the film starts) and, it emerges, the victims all have files at the hospital. And action takes place only at night.

This offers the opportunity for Roslyn to wander the abandoned corridors with the slowest possible steps as the music ominously suggests frightening presences, for her to ride up in the sinister lift, look into files, hear noises and, in general, keep herself and the audience on edge. She even begins to suspect that her husband is the serial killer.

There is a kindly secretary (Colleen Camp) who got Roslyn the job despite details in her back story which are gradually revealed. She also meets a genial doctor sorting documents on the fifth floor, a British therapist, who listens to her story (Cary Elwes). And the investigating detective, Michael Biehn, keeps turning up.

There are a whole lot of strange occurrences. Is Roslyn imagining some or all of them, is she dreaming, are her flashbacks, especially concerning her abusive father and his death, actual? Needless to say, there are a few more deaths, some plot developments that are baffling at times so that we are not too sure what is happening. Probably, Roslyn isn't either. But, it doesn't matter all that much since atmosphere and creepy feelings are the most important thing.

The copyright on the film is 2007. Perhaps, the writer had been reading Denis Lehane because Psych 9 has a very Shutter Island feel about it.

1. A terror thriller? Touch of the slasher? Touch of the supernatural? The title and its tone? Psychological dimensions?

2. The hospital, the settings, the interiors, due for demolition? Action taking place at night? The musical score and its moods?

3. The focus on Roslyn, getting the job, and her help, at, Dr Irvin and his interest in Roslyn, psychologically? The husband, driving the taxi, support? The doctor and the files? Her job,
going through the files? The noises in the hospital, action – and the audience on edge as well is Roslyn?

4. The background of deaths, serial killers? Identity? Mystery?

5. Roslyn, the flashbacks to the past, relationship with father? Her own mental sanity?

6. The detective, the investigations, interrogations?

7. The effect on Roslyn, the effect on the audience? The resolution?

A ROOM AND A HALF

Russia, 2008, 130 minutes, Coloour.
Grigoriy Dityatkovskiy.
Directed by Andrey Khrzharnovskiy.

Whether you have heard of or read the poems of Nobel Literature Prize winner, Joseph Brodsky, is not essential to being fascinated by this imaginative Russian film. The makers suggest that it is not related to actual characters even though it serves as part portrait and a touch of biography. It is mainly a creative interpretation of the meaning of his life.

Brodsky, who died in 1996 at the age of 55, was born during World War II in Leningrad, a city which suffered greatly during the war, much of it being destroyed and large numbers of the population dying. The Brodskys were Jewish Russians.

The biographical aspects of the story show the father returning from official work in China in 1948, the young boy's strong bonds with both his parents but the hardships that increased as the Soviet years went on. He is something of a philosopher and poet and is at times awkward with his peers. That changes somewhat in the 1960s as he is tantalised, as were so many of the young adults of the time, with the post-Stalinist (comparative) freedoms. (There is a scene where a teacher comes almost hysterically into a class and announces the death of Stalin and everyone falls to the floor in grief). Ultimately, Brodsky had to leave Russia and settled in the US, where he became a professor and was naturalised.

However, the poetic notion of this film is that he did return to the now St Petersburg, re-assessing his life and ideas and meeting his dead parents. He says that memory is like a film, scenes flowing (not necessarily in chronological order) and being edited. This is a film of memories, both of what was and what might have been.

The director is a noted Russian animator and documentary maker and there are many animated sequences (especially with a cat who was a family favourite). This is his first feature film (made in his late 60s). Lovers of classical Russian films will delight in his vision, artistry, his visuals, his portrait of St Petersburg (from the elegant city of Brodsky's childhood to the beautiful modern city which does now serve as an incongruous backdrop to contemporary shops and takeaways and casual dress that Stalin would never have approved of.

There are some poignant sequences of phone calls from prosperous America to dingy Leningrad where Brodsky's parents interpret their son's calls as his being ill and deprived of food. There is this yearning in Brodsky for his homeland – he never did return in fact – and for his parents. The parents are the strongest characters in the film, conveying with great feeling what it was like to live through those years - and be thwarted by officialdom in their attempts to get permission to go to the US to visit their son. They are memorably portrayed by Sergei Yursky and (especially) Alisa Frejlindkh. Grigoriy Dityatkovskiy is Brodsky.

Contemplative cinema is still alive – as is the spirit and style of Tarkvosky.

WILD CITY/ MAI SING

Hong Kong, 2015, 120 minutes, Colour.
Louis Koo, Shawn Yue.
Directed by Ringo Lam.

Wild City is Hong Kong production by veteran director, Ringo Lam. It is a blend of police investigation with gangster thriller, focusing on a former policeman who has been compromised because of his letting go of his half-brother. He now manages a night club and comes across a drunk woman, helping her and becoming involved in her being pursued, having taken money from a lawyer, the gangsters wanting the money back and pursuing the nightclub owner and his brother.

Colourful, and a variation on popular Hong Kong film themes.


1. A Hong Kong story? The director, his career, Hong Kong perspectives? Action films?

2. The Hong Kong locations, police presence, the world of criminals, criminal lawyers, homes, apartments? The bar? The musical score?

3. Action on the streets, the stunts, special effects, chases?

4. Themes of corruption, the law, is brought in from Taiwan, the abduction of the woman? Action, chase, cars, trucks, the boats? The confrontations?

5. The woman, her relationship with the lawyer, the flashbacks, the issue of the cash, taking it, drinking in the bar, T- Man and his help, her car, taking her to his mother, his brother finding her? The case, the pursuits, chases, in the boat, the money in the water, recovering the case? The fights?

6. T- Man and his story, a former policeman, resigning because of his brother and his criminal activity, owning the bar, the customers, the girl, his help, talking? His brother and the chase in the tow truck, his pursuit in the car? At the hotel, the cash, into the boat, the money in the water, recovery, the final fights?

7. The brother, criminal, driving the taxi, the tow truck, his pursuit in the truck, his relationship with T- Man, his mother? Attracted to the girl? In the boat? The fights?

8. The criminal boss, wanting the license, hiring the lawyer, the plan for the abduction, the thugs brought in?

9. The thugs, their role, Taiwan, the death, the funeral, vengeance?

10. The portrait of the police, investigations, pursuits, the relationship with T- Man, the arrest and interrogation, letting them go?

11. The Hong Kong thriller and introduction to the crime world?

DEEPWATER HORIZON

US, 2016, 107 minutes, Colour.
Mark Wahlberg, Kurt Russell, John Malkovich, Gena Rodriguez, Kate Hudson, Dylan O’ Brien.
Directed by Peter Berg.

2016 has seen Their Finest Hour, Sully and Deepwater Horizon. These are stories of American disasters and stories of American heroism – the heroism of ordinary men and women who rely on their courage and on their abilities to save situations, to rescue men and women in danger. One might ask: are they becoming alternative to comic book stories and superheroes!

Many audiences will remember the actual events on which this film is based, the oil rig in the Gulf of Mexico, South-east of Louisiana, the BP rig which exploded, 11 men losing their lives, and millions of gallons of oil poured into the sea for almost 3 months. This is a dramatic reconstruction, relying on the dramatic story, the dangers, the heroism rather than any detailed portrait of the characters involved. These are quite sketchy with only the central character, Michael Williams, getting something of a family story, an electronics expert who was to go on the rig for three weeks, leaving his wife and daughter, enabling the screenplay to have some characters on land, anxious about what was going on at sea.

With its slight delineation of characters except in these crisis situations, the film is of much more interest to audiences with some knowledge of engineering, the oil industry, the building and working of rigs, the extraordinary technology in their building, then maintaining, their mission of discovering oil.

The screenplay uses a little device at the opening of the film when Michael Williams’ young daughter is explaining her school project on her father’s job and using a Coca-Cola? can and a straw inserted to illustrate pressure and gusher. The only woman seen on the staff, Andrea (Gina Rodriguez) is having a difficulty with starting her car and riding on her boyfriend’s bike to work. We are shown the security for those going out onto the rigs, the helicopter flight, the vastness of the rig (which, publicity tells us, has been one of the largest film sets ever constructed – and destroyed).

One of the principal workers on the rig, Mr Jimmy (Kurt Russell appropriately strong and tough) has been honoured by BP and Deepwater Horizon has been named as one of the safest sites for years.

Trouble is indicated when workers are leaving the rig without having completed cement testing and is compounded by the presence of an official, played with his often sinister style by John Malkovich, with the critique that the company is cutting costs (recklessly).

The main part of the film shows the build-up to the explosion, the work of each individual and their competence, the gradual difficulties, rumblings below the surface of the water, difficulties with pipes and communications.

When Oscar time comes round, it is usually the superhero films which receive nominations for special effects and stunt work, with this kind of film being taken for granted that it was just dramatising what was actually seen on news footage. But, it has to be said, the director Peter Berg emerges his audience totally in the experience, has editors who are able to create a swift and anxious pace, and special effects experts who could persuade an audience to believe that they were seeing the real thing.

Mark Wahlberg is Michael Williams, given the opportunity to be a serious expert, a loving husband and father, a loyal member of the crew, strong in his commitment and heroism. Kate Hudson plays his wife (and for a momentary embrace with Mr Jimmy, the first time that she has acted with her father, Kurt Russell).

There is a visual tribute at the end to the 11 who lost their lives, some glimpses of court proceedings and hearings.

1. Audience knowledge of the facts on which this film is based? BP as a company, into oil explorations, in the Gulf of Mexico, the rigs, their size and power, their work? The tragedy? The explosion, the loss of lives, the pouring of the oil into the sea?

2. The impact of the recreation of the rig and its giant set, the exteriors, the interiors of the rig, the tug in attendance? The audience immersed in the life of the rig? The technology, the details? The depth of the rig for exploration?

3. The stunt work, the special effects for the explosions, the burning of the rig, underwater, in the night? The heroism and the saving of lives, the dangers from fire? The rescues?

4. The atmospheric musical score and its contribution to the audience involvement?

5. The work of the director, a sense of realism, immersing his audience in the experience? The importance of the editing and pace?

6. The title of the film, the Deepwater Horizon in the Gulf of Mexico, its safety record? The personnel, the decorations of merit? As owned by BP, the implication of cutting costs, individuals, executives and their pressure on staff and crew? The consequences? The film opening with the voice-over of the court case? The final footage from the court proceedings? Judgment? The consequences of the spill and the responsibility for BP?

7. The human touch with the Williams family, Michael and Felicia, her dream, breakfast, their daughter, her love for dinosaurs, the preparation of the project for her father’s job, and the use of the Coca-Cola? can and the straw to alert audience to the work of the rig? The contact by Skype? The consequences for waiting wives? Children? The dinosaur tooth?

8. Michael Williams, his character, electronics expert, three weeks on the rig? His friendship with Mr Jimmy, his leadership, honours given to him, strong, relating well with his crew? The assembly, security, the helicopter ride, the overview of the rig?

9. Taking the officials on the helicopter, the hit with the bird and the alert? The later oil-covered bird on the rig?

10. The BP official, his insistence, noting what he thought was insolence? The effect of the explosion on him, bewildered, the rescue?

11. Arriving, the technicians leaving, the enquiries about the cement test and its not being done? The decision to have substitute tests? Seemingly successful?

12. The ordinariness of life on the rig, cabins, Mr Jimmy having his shower, the camaraderie amongst the crew? Andrea and her work? The background of her car not starting and riding on her boyfriend’s bike and getting to work?

13. The initial signs, pressures, sounds, the BP official and his dominance? The range of technology, testing? The sense of responsibility of Jason and his using his wits?

14. The gradual build-up for the explosion, the mud coming up, the mud pouring out, the igniting of the fires? The issue spread? The vastness of the rig, the vastness of the fires, the further explosions, the people getting caught up, burning, injured, dead, falling from the rig? The vast machinery, breaking down, crashing?

15. Michael Williams, the injuries, going to find Mr Jimmy, Mr Jimmy in the shower, the glass, his boot, being rescued, going to the centre, ordering people off? Andrea and her supervisor and his refusing to touch the switch because not authorised? Andrea authorised?

16. The scene showing the escape from the rig, the man swinging the machinery but dying, Michael and his associate and the burns, turning on the power? Andrea, the rescue, going higher, seeing that the raft had gone, Mr Jimmy and the raft from above, going into the water? Michael urging Andrea to jump over the fire, her fears, his pushing her, his own jump, underwater, their being saved, her gratitude?

17. The work of the Coast Guard, the communications, phone calls, surveillance, decisions, the helicopters, the rescues?

18. Those saved coming to shore, relatives waiting, the angry big man wanting his son and accosting Michael? Michael collapsing in the room, Felicia and their daughter finding him?

19. The consequences, Mr Jimmy continuing working, Michael and Andrea not continuing on rigs? And the consequences for BP?