THE REHEARSAL

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

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

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

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

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

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

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

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


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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

RUMBLE IN THE BRONX


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


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

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

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

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

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

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

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

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

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

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

Heavies caught.

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

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


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

THE UNSAID

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


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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

AN AMERICAN CRIME

US, 2007, 98 minutes, Colour.
Catherine Keener, Ellen Page, Hayley Mc Farland, Nick Searcy, Romy Rosemont, Ari Graynor, Scout Taylor- Compton, Tristan Jarred, Bradley Whitford, Michael O' Keefe.
Directed by Tom O' Haver.

An American Crime is a striking film, the re-creation of a terrible experience of torture, punishment and death of a teenage girl in Indiana in the 1960s.

The film notes that the testimony of various characters is based on court proceedings. But, there is also a disclaimer at the end of the film of the writers fictionalising some aspects and characters.


Catherine Keener gives a frighteningly persuasive performance as Gertrude, the mother of six children, unwell, without main income, taking on two neighbouring children and caring for them while their parents were on circuit with a carnival. Trying to deal with her own children, especially the oldest daughter, Paula, and being frightened that she will become pregnant at a young age, Gertrude begins to punish the two sisters in her care. When Paula is discovered to be pregnant and Sylvia tells the prospective father, Paula complains to her mother who then proceeds to punish Sylvia, the punishment becoming worse and worse, slaps, beatings, cigarette burns, and finally an inscription on her abdomen, carved, “I am a prostitute and proud of it�.

A young Ellen Page, about the time of her making Juno, also gives a strong performance as Sylvia. There are some guest appearances with Bradley Whitford as the prosecutor in the court sequences and Michael O’ Keefe as the local pastor, the Church playing an important role in the family’s lives.

Directed Tom O’ Haver and his writing partner, Irene Turner, also introduce some fantasy aspects to the screenplay, the narration by Sylvia, her memories of the merry-go-round, a striking sequence where she seems to be rescued by Paula and driven to see her parents and being taken back to the home where she goes back inside – whereas, in reality, she is dead. And a final seeing returns to the merry-go-round.


The film is difficult viewing, especially the torture sequences, the hardness of the allegedly religious housewife and mother, who finally denies everything in the courts, and the sufferings of the teenage girl. There was some criticism that the writers softened the character of Gertrude and Paula – but audiences are in no doubt about their callousness and the justice of their sentences.
.

1. The title, the crime, the particularly American nature? Family crime? Indiana and the midwest? The 1960s?

2. The screenplay based on court proceedings and testimony? The final disclaimer about fictionalising some aspects and characters?

3. The city, the streets, the house, the basement? The church?

4. The realism of the story? But the narration by Sylvia, her reflections on the merry-go-round, the fantasy sequence of Paula helping her, her escape, Ricky driving her to her parents, their response, driving her back – and her going into the house again? Dead? The final sequence, once again the merry-go-round?

5. The court sequences, the prosecutor, his interrogations, Sylvia’s parents and the explanation of their activity at the time, Jennifer and her going into the house with Sylvia, Gertrude, the children? All interrogated – and the intercutting of these scenes with the narrative?

6. Sylvia, Jennifer, their parents, going on the circuit, carnival, being away, the difficulties, sending the cheques, writing the letters – and Gertrude concealing this?

7. The two girls, going to the church, the experience of the church, the importance of the church and Gertrude’s religiosity, the sermons from the pastor, the parishioners, the bus? Going to school? Jennifer and her polio and the children’s curiosity? Their ages, dependent on their parents, Gertrude as a guardian?

8. Gertrude, illness, her husband leaving her, her liaison with Andy, the five children, the new baby? Trying to cope? Her wariness, worries? Giving the money to Andy for his trip? Relying on Paula and her income? The characters of the other children, boys, girls? The discipline, her beatings? Beating Sylvia and Jennifer? The two girls winging their parents, Gertrude’s punishing them?

9. Life at home, everybody together, the family meetings, Paula and the outings, going to the shop, her boyfriend, at the carnival? Paula confronting the boyfriend, Sylvia mentioning that she was pregnant? Paula’s anger, and denouncing Sylvia to Gertrude?

10. The rumours, Gertrude’s reactions? Gertrude and her interrogation of Sylvia, blame, slapping her, Sylvia becoming the victims, the torture, hitting, the burns, to the basement, the other children and their burning her? Ricky and carving the statement on her abdomen? Sylvia’s death?

11. Ricky, befriending Gertrude, the cigarettes, his participating and the torture?

12. Jennifer, her fears, not speaking out?

13. The other children, the devotion to their mother, punishing Sylvia because their mother said so? Paula and her harshness?

14. Andy, relationship with Gertrude, telling her about the pregnancy, the pregnancy test, Gertrude continuing to deny it?

15. The pastor and his visits, suspicions?

16. The realism and audience sympathies with Sylvia, antagonism towards Gertrude, towards the children?

17. The court, the prosecuting interrogating Gertrude, the continuing to lie, even saying that her children, who will watching, had lied?

18. The information at the end, Gertrude guilty, 20 years in jail, seeming to repent at the end? The subsequent history of the children?

19. The effect of audiences watching this experience of children, Sylvia, torture and death, the callous discipline?

SNOW DOGS

US, 2002, 99 minutes, Colour.
Cuba Gooding Jr, James Coburn, Joanna Balcaso, Sisqo, Nichelle Nicholls, M. Emmet Walsh, Graham Greene, Brian Doyle- Murray, Michael Bolton.
Directed by Brian Levant.


Dogs are always popular at the movies. This time there is a whole team of dogs, snow dogs who pull the sleds in Alaska. What we have is a rollicking comedy with a touch of adventure.

Ted Brooks is a rich Florida dentist who suddenly finds that he was adopted. He goes off to Alaska to find out about his mother's will. The snow dogs are hers. One of them, Demon, is hostile to Ted but we know that he is going to come around even if there are a few fights in the meantime. Demon even looks devilish. In fact, most of the dogs look like their personalities which makes it all the more interesting. We know that Ted is going to learn to drive the snow dogs. It's just a matter of seeing how he does it.

There is plenty of knockabout comedy for the younger audiences. Cuba Gooding Jr plays Ted. He must be a good sport because he spends a lot of the time being knocked over, falling down cliffs and struggling with the dogs. Just when you think there couldn't be any more, there is. He crashes into trees, falls through the frozen ice in a lake and, at the climax, he and James Coburn who plays his crusty natural father, are dangling over a precipice and being pulled to safety by the snow dogs.

As an extra bit of comedy, Ted has a dream where the dogs are all in Florida sunbaking on the beach and making critical comments to one another about him.

Snow Dogs is no movie masterpiece, but it is cheerful, rowdy, makes some points about family, has a pleasant love story - and even makes a hero out of a dentist.


1. An American story from Florida to Alaska?

2. The title, the dogs as an inheritance, the focus on Ted and the dogs, his search for his identity? The musical score?

3. Ted, the dentist in Florida, his face on the buses? His practice? His mother, the revelation that he was adopted? The inheritance from his mother, Lucy? His going to Alaska? Seven Siberian Huskies, and Collie?

4. Ted, the Alaskan experience, rediscovering his roots? The terrain, blizzards, ice, the animals, the Arctic Challenge and its preparation?

5. The encounter with Barb, her help, the bar, her falling in love, telling him the truth?

6. Thunder Jack, old, wizened, wanting to buy the dogs? The revelation that he was Ted’s father? His explanation, the best interpretation, false?

7. The deal between Ted and Jack, the dogs for information and the truth? The Arctic Challenge, the race, Ernie coming last? The storm, Jack wanting to go on, Jack’s jealousy of Oliver?

8. The supporting characters, Alaskan characters, old grizzled men?

9. Ted, going back to Florida, his mother and the photo? His going back to Alaska, Jack being lost, Ted going out to search? The encounter with Oliver? His mother arriving?

10. Finding Jack, the confrontation, Jack telling the truth?

11. Demon, bad temper, his bad tooth, the dentist fixing it?

12. The completion of the Challenge, despite the cliff dangers?

13. Ted, bequeathing his practice to his cousin Rupert and the advertisements on all the buses? Going back to Alaska, his mother, his practice, Barb as his receptionist, pregnant, the happy future?

SHARKEY'S MACHINE

US, 1981, 116 minutes, Colour.
Burt Reynolds, Vittorio Gassman, Brian Keith, Earl Holliman, Rachel Ward, Charles Durning, Henry Silva, Bernie Casey, Richard Libertini.
Directed by Burt Reynolds.

Sharkey's Machine is one of many tough action thrillers with police settings in a corrupt United States. It is very much a film of the early '80s. It is also a Burt Reynolds vehicle - he is both star and director.

As star, Burt Reynolds has an impact with a blend of charm and toughness. As a director, he has an eye for action as well as for sentiment. It is a good performance and a good film for him.

There is an excellent supporting cast led by Vittorio Gassman as an international gangster with a psychotic Henry Silva as his brother. Rachel Ward is very attractive as the call-girl at the centre of the action. The machine - the police group - includes Charles Durning, Brian Keith and an enjoyable performance from Richard Libertini.

The film is set in Atlanta, Georgia and shows police and political corruption. The screenplay also has echoes of Alfred Hitchcock: the film starts as a kind of Rear Window as Burt photographs and records Rachel Ward's behaviour. When it seems that she has been killed and Burt realises how much in love with her he was, the film turns into a kind of Vertigo.

This is a very good example of police dramas of the '80s.

1. An entertaining and interesting police drama? The background of the '70s and '80s - police heroism? Police corruption? Case studies? The life of the police: the effect on their work? The pressure on their own lives? Expectations of society? The encounters with evil and violence? The comparisons with other films of its kind?

2. The film as a Burt Reynolds vehicle: star and his style, persona, charm? Romantic lead? Macho tempered by a regard for women? His skill as a director: action, pace, romance. sentiment?

3. The importance of the Atlanta background: the cityscapes at beginning and end, the helicopter shots, the streets, the tall buildings, the hotels? The police within the city of Georgia? Dealing with wealthy families, politicians? The drug culture? international crime? Political corruption? The range of society in Atlanta, Georgia? The police informers? Colour photography, atmosphere? Stunts and effects? The visual violence? The musical score and its range? Credits. atmosphere, final song (and the voice of Sarah Vaughan)?

4. The introduction to the film after the introduction to the city: Sharkey walking, looking seedy, the drug connection, the pusher, the location and its squalor, the police car, the violence, the chase, the ordinary city streets, the ordinary bus, the police and shooting, the shooting in the bus, death? The death of the drug pusher? Whites and blacks? The interchange and patter? The repercussions for Sharkey? The commendation by his boss? The transition to the Vice Squad? Violence, action, mood? Establishing characters and issues?

5. Burt Reynolds' interpretation of Sharkey? Skilful policeman? The effect of the demotion? Going to the bowels of the police offices? The sewers? The men, the jobs, the squalor, clearing his desk, the speeches and the toughness? The pimps, prostitutes? Being taken out on the round, the political speeches, arresting Mabel - and the irony of the black book, the names and the phone numbers?

6. The case study: the police investigation, permissions, phone-tappings? The work of the squad as a machine? The introduction to Victor and his international connections? The introduction to Carlo as a killer - his taking the drugs, his going to the expensive house, the murders? The effect on him in killing people? The connections with Hotchkiss and his campaign, the relationship with Domino? His being on tape? The implications for corruption in the city, crime control, the background of white slavers, political power, Smiley and the police connections and corruption? The possibility of cover-ups?

7. The theme of surveillance: developments in technology, techniques, tapes, photographs, film? The time taken? Experts like Nosh and their contribution? The ironic comic touch with Frisco and his listening in, the equivalent of a peeping-tom? The effect on Sharkey of the constant vigil in watching Domino? The audience sharing his experience? His wanting more? His having photos of her in his home? What Sharkey and the audience discover: Domino’s lifestyle, the relationship with Hotchkiss, her dancing lessons and her wanting to be a dancer, her friendship with Tiffany? The parallels between Domino and Sharkey? The shower, turning out the light, singing the song together? The importance of this sharing and the persuasiveness of Sharkey falling in love with her? Victor and his arrival, menacing tones, his smooth promises, the night with Domino? The build-up to his ordering Carlo to kill her? The sudden impact of her going to the door, the gun-blast? The effect on the audience and Sharkey in thinking she was dead?

8. Rachel Ward's portrait of Domino? Her set-up, her story, glamour, wealth? Reality and unreality? Attractiveness to men? The trained call-girl? The relationship with Hotchkiss and his getting a house for her? Her wanting to change, be a dancer? Her hopes for herself? Their being cut off in her death?

9. The importance of the voyeur theme? The psychological implications? For the man watching the call-girl? Participating in her profession? The importance for the feminine in Sharkey: the blend of the prostitute and the princess? Sharing her experience, the photos, the sounds? The smoking? The song? Psychological communication? Love and jealousy? The importance of her being killed and the effect on Sharkey's psyche? The shock and the reality? Her coming in casually and Sharkey having to confront it? His rescuing the princess and setting her up at home? Embarrassment at the photos? His reaction to her, questioning her, anger at the reality of her profession, the slur about the thousand dollars? The violence and his attack? The contrast with the morning, the peace, the school and the children at play, the story of his home, carving the rose and his embarrassment? Sexual fulfilment and the unification of different aspects of his psyche? Willing then to defy Victor, to suffer? His becoming more real? Domino’s becoming more real?

10. The portrait of Sharkey's machine and the variety of personnel: - Frisco as the boss, having worked so many years, the rules, the upstairs officials - especially the one killed in the hit-run? The machine tantalising him? - Poppa: his many wounds, toughness, eating habits and discussion about fast foods, interrogation of the hookers, sharing in Sharkey's surveillance, willing to help, cruising with him, Ralph and the transvestites? Reaction to Domino? Enjoying the good friendship of the group? His death in the final confrontation? Arch: his work, background, enjoying his work, his stories about Zen and disappearing? The contact with the informer, his threatening him, the death? The confrontation with Carlo and his dying? - Nosh: type, family, swearing, skills, loyalty to Sharkey, his death? - The various groups with their forensic skills and the examination of Domino’s room? The baseball meeting and the tantalising of Frisco?

11. Victor as the embodiment of evil? His background, the white slave trade and his training of the little girls, of Domino, the relationship with her, his power, sexuality, willing to kill Domino? His hold over Donald Hotchkiss - the car-ride and his inviting Donald to leave - and his not leaving? The confrontation with Sharkey and discovering Domino was alive? The clash with his brother - their seeming reconciliation and his death?

12. Carlo as the embodiment of evil? The assassination, taking drugs, the killing of the official at the opening, of Domino, of the informer? Nosh? The hit-run? The relationship with his brother and shooting him? The final confrontation - his being able to disappear, the confrontation with Sharkey and his believing he wouldn't die? His falling from the high building?

13. The dramatic impact of Domino’s seeming death? Of her being alive?

14. The lyrical touches of the film: Domino’s dancing, the peace in Sharkey's house, her decisions?

15. Hotchkiss and his role as Governor, the campaigns, sexual liaison, family background, reaction to Domino’s death and his grief, the car-ride with Victor and his not getting out, his winning the victory, his speech, the theme of his accountability to the people and the irony of his collapse and Sharkey, his arrest and the collage of television comments?

16. The violence of the chases, confrontations, death? The background of police styles and audience expectation? With the Hitchcock suspense and psychological touch?

LE SAUVAGE/ LOVERS LIKE US

France, 1975, 107 minutes,. Colour.
Yves Montand, Catherine Deneuve, Luigi Vannucchi, Tony Roberts, Bobo Lewis, Dana Wynter, Vernon Dobtcheff.
Directed by Jean- Paul Rappeneau.

Le Sauvage was a very popular romantic comedy of 1975. By this time, Yves Montand was a French icon, actor, singer. Catherine Deneuve, although only 32 at this time, had already had an 11 year career in films beginning with The Umbrellas of Cherbourg.

This very implausible comedy was written and directed by veteran Jean- Paul Rappeneau, his later films include Horsemen on the Roof and Bon Voyage.

Whatever her status at the time, Catherine Deneuve’s playing of Nelly makes her a very irritating character. On the other hand, Montand is all charm. Tony Roberts appears in the supporting cast and it is the last film for British actress of the 1950s, Dana Wynter.

The setting is Venezuelan, the city of Caracas, with the bulk of the scenes on an island off the coast and then some sequences in the business world in New York City.

On the island, Montand pursues his life and work while putting up with Deneuve and her troublesome presence – but the screenplay inevitably having the couple move towards each other for a sexual liaison.

Many audiences will enjoy the offbeat romantic comedy – while others may well be irritated by Catherine Deneuve’s character.


1. A very popular box office film of 1975? The stars? The Latin American settings, Caracas, the island? The musical score?

2. The title, the reference to Martin – and whether Nellie was also savage? The low key English title?

3. The introduction to Nellie, Catherine Deneuve in 1975? The engagement, her fiance, his family, the dances, the speeches, the effect on her, going through the motions? Her relationship with Vittorio? His type, very Italian? Her decision to pack, run away? In the early hours?

4. Contacting Alex, the American, the former boss, his decision to help her or not, his Toulouse- Lautrec painting? With Vittorio? Becoming involved in the chase, his later reappearance – and his trying to recover the painting, Nathalie smudging it, destroying it?

5. The chance encounter with Martin, his work, the background of the markets and vegetables? In the hotel, Vittorio and the search, Alex, the apartment? Nelly’s escape? In the room, Martin and his continually being disturbed? Her putting the alarm forward? The lift to the airport, the discovery of the truth, the plane ticket, going back to France?

6. Martin, his boat, the islands, finding Nelly already there? The bulk of the film and their interactions, the interplay, his life and work, communications and phone, the plane going over, the background of his wife, Nelly snooping in finding the photos, the documents, the company, the perfume? Her wilfulness? Breaking down his tolerance? The eventual sexual encounter? Her sinking the boat, their being stranded?

7. The company, in New York, the executives, the meetings, the woman who was continually present throughout the film, taking photos, her being employed
by Martin’s wife? Martin’s wife, her role in the company? Martin being summoned to New York? The confrontations? His losing out, imprisonment?

8. The years passing, his looking for Nelly, finding her, the happy reunion?

9. Romantic comedy – the plausibility and implausibility of the characters in the plot?

THE MERMAID/ Mei ren yu

China, 2016, 94 minutes, Colour.
Directed by Stephen Chow.

As of August 2016, The Mermaid was the highest grossing film in China. It obviously appeals to popular taste – but, with its characters and situations and touches of mythology, it may not travel so extensively and popularly.

Stephen Chow made a great impression with his Chinese martial arts comedy, Kung Fu Hustle, and followed it up with Shaolin Soccer. Broad comedy seems to be his forte and it is in evidence here.

The film is very much for the environment and so its comic appeal may have a strong pro--environmental influence.

It opens with plans by wealthy Chinese to reclaim part of the sea for development. There are some bureaucratic bigwigs who are exploiters – but the central character is a wealthy playboy who gets in on the act but seems to have very little moral conscience. He is played up to buy several conniving go-getters, both male and female.

The reclamation of part of the sea has a significant effect on the colony of mermaids who feel that they are in danger. They must been brought up on martial arts because one of them is commissioned to go to assassinate the playboy. This leads to quite a number of comic episodes of danger and escape from danger.

The problem is – or maybe the resolution is – that the mermaid falls in love with the tycoon and he with her, which pricks his conscience and behaviour, making him reconsider all his plans.

In the meantime, there is a common enemy who send out assassins to be rid of the mermaid, leading the hero, by then becoming a hero, to save his beloved mermaid.

Obviously, this film is not a critic's choice – the style of a popular appeal may limit its being viewed by more serious audiences, adult audiences.

Nevertheless, it is a box-office champion in China, seen by millions.

HACKSAW RIDGE,

Australia/US, 2016, 140 minutes, Colour.
Andrew Garfield, Teresa Palmer, Vince Vaughan, Sam Worthington, Hugo Weaving, Rachel Griffiths, Luke Bracey, Matt Nable, Richard Roxburgh, Ryan Corr, Bill Young, Robert Morgan.
Directed by Mel Gibson.

A very impressive war film, World War II, on the island of Okinawa in 1945. It is not an easy watch.

Headlines have noted that this is Mel Gibson’s comeback. The last film that he directed was Apocalypto in 2007 and, since the crises in his life, he has appeared in very few films as an actor. Hacksaw Ridge reminds us how well Mel Gibson can make films.

The opening immerses the audience immediately in the experience of war, close-up. rifles, mortars, grenades, flamethrowers and the camera in amongst the soldiers capturing instant death, capturing harrowing wounds, the horror of flames and fire.

But, then the film goes back 15 years and takes us to the blue Ridge Mountains in Virginia to the Doss family. It should be added that the film will return to the close-ups and immersion in the war sequences at the end of the film. While the Americans do defeat the Japanese, this is not quite a gung ho patriotic story but a sometimes horrifying portrayal of the physical and psychological damage done to all soldiers.

Hacksaw Ridge was filmed at the Fox Studios in Sydney and in New South Wales the strong Australian supporting cast all impersonating, quite effectively, Americans. Hugo Weaving is a sometimes brutal, alcoholic father of two young sons, prepared to give them beatings, but then turning on his wife, played by Rachel Griffiths. The film establishes the relationship between the two young brothers, rivalry in climbing the mountains, getting into fistfights and one hitting the other with the brick, suddenly shocked at the potential to kill.

It emerges that their father served in World War I, all his young friends being killed in action.

Then it is World War II, one son signing up to the anger of his father, the other, Desmond (Andrew Garfield in a fine performance), the brother who struck with the brick, has no wish to take up arms, even to touch a rifle, but feels compelled to enlist, wanting to serve as a medic, emerging as a conscientious objector, powerfully motivated by his faith and his Seventh Day Adventist religious practice. (It is interesting to be aware that Mel Gibson is still interested in religious themes, a focus on the Bible and texts and prayer.)

While there are some standard scenes of harsh military training and a surprising non-comic performance from Vince Vaughn as the harsh Sergeant, they serve as a context for Desmond’s commitment to the Army, willing to put up with the taunts of authorities and fellow-soldiers, some brutality on their part, the demands of his commanders to take up arms and the possibilities of a court-martial for his refusal.

There is an engaging romantic background to Desmond’s story, his encounter with the nurse, Dorothy (played with great charm by Teresa Palmer), portrayed with a pleasing blend of romance and humour.

Then it is off to the war, to Okinawa and the need for the Americans to scale a cliff-face, Hacksaw Ridge, and take it from the Japanese, with troop after troop of Americans climbing, facing the heavy artillery, and a wave of Japanese. Once again, and for a greater length of time, the audience is immersed in the close-up of action. The significant difference is the work of Desmond, present with the troops, helping with the wounded, and, eventually, carrying over 70 wounded to the top of the cliff and lowering them with a rope for medical care.

His overwhelmed fellow soldiers and officers admit that they were wrong in their initial judgment and condemnation of him. He was the first conscientious objector to receive the American Medal of Honor, with a final credits image of the actual Desmond’s receiving his medal from President Truman. After the audience’s sharing Desmond’s life and ordeal on screen, it is satisfying to see glimpses of him in real life, and his reflections even in his old age.

In 1999, Terence Malick directed The Thin Red line, about the conflict with the Japanese on Guadalcanal, vivid fighting with a background of meditative reflection. Hacksaw Ridge serves as an effective companion film.


1. The impact of this film? War in the Pacific? Military action? Soldiers and medics?

2. The film is a humane drama, the Doss family, the two brothers, mother and father? Desmond and his relationship with Dorothy?

3. The Australian locations? The Virginia mountains, the military training base, Okinawa? The impact of the locations? The mountains, the town, home, the camp and the details of training? The musical score and the moves?

4. The impact of the action, the stunt work, the close-up camera work, vivid, fighting, hand-to-hand, the squad, guns, grenades, explosions, fire? The wounds and the skills of the prosthetics? Editing and pace? The audience immersed in the battle?

5. The stances of the screenplay, for or anti-war? The role of the conscientious objector? Principles, not touching weapons, the religious motivation, the Seventh Day Adventists, attitude towards arms, no meat, prayer, Bible reading, Saturday for worship?

6. The prologue and its effect? The latter resumption of the battle sequences? The audience prepared by this prologue for the latter part of the film?

7. Tom Doss, World War I, his experiences, his young friends, in the cemetery, the headstones, his memories, his regrets, their deaths? His subsequent life and marriage, alcoholic, brutal, towards his wife, with a gun, the beatings of his boys? The insertion of flashbacks about his brutality? His personal regrets? The boys fighting and Desmond with the brick? His reaction to Hal signing up? Not wanting Desmond to go to the war? His son as a conscientious objector, his putting on his uniform, going to the authorities, the man whom he served with, getting his letter, allowed into the court-martial, presenting his case, the regulations and his son getting off, doing this for Desmond?

8. His wife, a good woman, the Christian values, her suffering, love? The support of her sons? Support of Dorothy?

9. Two boys, the climbing, rivalry, collaboration, bonding, the vicious fight, Desmond with the brick, the injuries to Hal? Recovery? Their lying in bed, listening to their father?

10. Hal, his decision to go to war? Desmond, Pearl Harbor, going to the cinema and seeing the news, the spirit in the town, the rejected man killing themselves? Desmond feeling he was unable to stay?

11. Desmond, his work, his memories of his brother with the brick, attitude towards killing? The accident in the street, his tourniquet, going to the hospital, the encounter with Dorothy, the attraction, the goofy smile? Giving blood? Going back, telling the family that he wanted to marry Dorothy? The dates, avoiding the cars in the street, the movie, the kiss and the slap, Dorothy’s reaction, the need for an invitation? Climbing the mountain together? Her giving him the book for his medical background? The proposal, her response? The wedding dress, waiting, Desmond’s parents, his absence? Dorothy as a character, her love of Desmond, believing him, the visit to the court-martial, the consequences?

12. The importance of the training, the arrival, the range of young groups, the sergeant and his style, with the men, inspecting, the sardonic humour of the nicknames, like Ghoul, Cornstalk, Hollywood? The fact that Hollywood was naked and out in the exercises? Smitty and his toughness?

13. The details of training, Desmond and his skills, Smitty hitting him, the final running, Desmond winning? Smitty and his reaction, the criticisms, the later bashing – and, in the foxhole together, his final regrets?

14. Glover, the charge, reaction, disbelief about Desmond, application of the rules? Desmond’s being refused leave for his wedding and the aggressive officer? The different Offices and their threats? Leading to the court-martial? His decision to plead not guilty? Court-martial itself, the accusations, the presiding judge? Tom Doss and the letter and the verdict?

15. Desmond and his stances, not touching the weapons, his suffering, the ridicule, his patience?

16. Going to Okinawa, the troops May 1945 the Japanese, the American attack – the enormous casualties, their being transported back to the sick base?

17. The Ridge itself, sheer, the ropes, having to scale it? The terrain, the advance, the Navy backup and the aerial backup? Making progress, the Japanese opposition, the range of weapons, the flamethrowers?

18. Desmond and his role, helping, the men having to retreat, the interactions with the sergeant, the men going back down? The return the next day? Going up again, the clash, the trenches, the tunnels, the shooting, the destruction, the deaths and woundings? The night, with Smitty in the foxhole, the nightmare and the Japanese attack and his having no weapon?

19. Desmond staying on the top, evading the Japanese, going through the tunnels? His rescuing the men, getting the rope, lowering them down, always wanting to find one more, over 70? The amazed men at the bottom of the cliff and not knowing who was sending the wounded men down? Desmond and his being wounded, lowered down?

20. Japanese, the soldiers, relentless, the shooting, their being massacred? The officer and his Hari Kari and being beheaded?

21. Desmond, his achievement, the Medal of Honour? The actual footage with President Truman? His story, family, Dorothy, his brother, the testimonies? Glover and his reminiscing about his wrong assessment of Desmond? Desmond in his old age and his folksy comments on what he had done?

22. The response to this film as a war classic?

BLACK WAY/ GO WITH ME

US, 2015, 90 minutes, Colour.
Anthony Hopkins, Julia Stiles, Alexander Ludwig, Ray Liotta, Hal Holbrook.
Directed by Daniel Alfredson.

The title, Blackway, refers to a character played by Ray Liotta, another one of his sinister and rather brutal characters.

The film was made in British Columbia, with the atmosphere of the forests, timber logging, the remote towns, the communities and the domination of powerful characters.

Anthony Hopkins, who produced the film, plays a retired timber worker who has lost his wife and his daughter. Julia Stiles is a young woman who grew up in the town, moved away to Seattle, has returned because of her mother’s illness and then death. Both of these characters have memories of Blackway and his overbearing attitudes as a policeman, his treatment of Anthony Hopkins after the death of his wife, his sexual advances and brutality towards Julia Stiles.

She appeals to the sheriff who sends her looking for some of the timber workmen, encountering an old storyteller played by Hal Holbrook, with Hopkins deciding to help her track down Blackway along with the young worker, Nate, played by Alexander Ludwig.

The film shows their drive, the search, the range of people they encounter, reluctance in giving information, some violent confrontations and, finally, meeting with Blackway – with expected results.

1. An action story forests, timber towns and communities?

2. The location photography in British Columbia the forests, the logging, the towns, homes, cafes, motels? Authentic feel? Musical score?

3. The title, clearer than the original title?

4. The atmospheric opening, the night, the homes, Lester and his toys, Lilian and her painting, Blackway’s intrusion, the death of the cat?

5. The Sheriff, Lilian’s complaint, his inaction, his advice to search out men at the lumber yard?

6. The old man, his reminiscences, the other old men listening, Lester present, Lilian and her complaint, trying to find contacts? The men not wanting to help? Lester and his intervention? Taking Nate?

7. Lester, his back story, the death of his wife, alienation of his daughter, her death? His working lumber? Making the windmill toys? The flashback to his encounter with Blackway, his rough manner as police, insensitivity about Lester’s daughter’s death? The friendship with Lester, Nate being rather slow, stammering, but supporting Lester?

8. Their drive, making enquiries, visiting the man whose daughter had been threatened by Blackway, some information? Going to the cafe, the cook out of prison, his support for Lester? The waitress at the diner? The hostile timber workers?

9. Going to the motel, Blackway present, Leicester overhearing the information? The dangers, the man with the gun? Nate and his fight, shooting, the fire? Lilian and her rescue of the young woman she was at school with, kept by Blackway?

10. Camping out, the hut, Lilian and her remembering the attempted assault by Blackway, his violence, sexual aggression, the witnesses? Her getting away? The sitting outside at the fire? Lester inside?

11. Blackway’s presence, the gun, the confrontation, Lilian’s movement? Lester, the gun, Nate and his fight? Lester shooting Blackway? The comment that the body would not be found in such a remote place?

12. People returning home, back to normal, Nate and Lilian talking, his girlfriend? Lester and the long look into the camera lens for the audience to think about him and what it happened?