BOYCOTT

US, 2001, 118 minutes, Colour.

Steven Wright, Terrence Howard, Carmen Ejogo, CCH Pounder, Reg E.Cathy,

Directed by Clark Johnson.

An impressive screen experience. It is one of the number of HBO films for theatrical release and television made during the 1990s and the first years of the 2000s. Other films include The Second Civil War, Path to War.

This is a story of the boycott in Montgomery Alabama in 1955-1956, following the arrest of Rosa Parks for refusing to give up her seat to a white passenger in the bus (dramatised interestingly with Whoopi Goldberg and Sissy Spacek in The Long Walk Home). Leaders in Montgomery, many of them church ministers, decide on the strategy of a day’s boycott where African- American passengers will walk instead of riding the bus. Audiences may be familiar with this episode, the boycott extended, lasting over a year, the African- American population of Montgomery banding together, persevering, people helping with cars – but the authorities in the city finding always of clamping down, raising taxi fares, arrests for exceeding police speed limits, taking leaders into custody….

The episode was important historically and is considered a significant step towards the Civil Rights movement and success in the 1960s. Martin Luther King was present in Montgomery, with his wife Coretta, from Atlanta and teamed with the Rev Ralph Abernathy, both of them so important in the 1960s. Here Martin Luther King is played by Steven Wright, an impressive performance, especially in the delivery of King’s speeches. Terrence Howard plays Ralph Abernathy, Carmen Ejogo plays Coretta (and was to play her 14 years later in Selma).

A number of African- American character actors appear, especially as leaders in Montgomery, CCH Pounder, Reg E.Cathy. The film is directed by Clark Johnson, African- American actor and activist.

A way of looking back and understanding the races of the South, of the times, bigotry about races intermingling, the presence of the Ku Klux Klan, an atmosphere of injustice – with a 1956 ruling in favour of the African- American leaders from the Supreme Court.

1. The clear and direct title? The Montgomery, Alabama, bus boycott of 1955-1956? Race relations, segregation and prejudice, the role of Martin Luther King? The emphasis on the 1950s and 1960s Civil Rights Movement?
2. Audience knowledge of the situation, segregation in the south, prejudice, racism, Ku Klux Klan, hangings? The bus situation and the boycott? The leadership in the boycott? Going finally to the Supreme Court? Consequences?
3. The use of archival footage inserted into the film? Recreation of Montgomery, 1955, the city, workplaces, black neighbourhoods, authorities and the city, bus and transport, the visualising of the African- Americans paying at the front and then walking to the back of the bus, the separated areas, expectations of giving up a seat to white passengers? The bus situation becoming a symbol?
4. The community in Montgomery, the visualising of the black neighbourhoods, workplaces, the consequences of not travelling by bus, walking, the old lady walking up to 12 miles, boycott for one day, continuing, for over 300 days, drivers and shared travel, the police giving travel tickets, taxis and the city imposing higher fees?
5. The locals, the churches, the meetings, Martin Luther King being in Montgomery rather in Atlanta, the presence of Correta, his daughter, Ralph Abernathy in Montgomery? The going to the meeting, the nomination of King, the forming of the local group? King, at home, Corretta support, writing his speech, giving it, the oratory, staring people, the applause? King and his leadership? Increasing in stature, the verbatims of his speeches – and the audience knowing what would happen in the 1960s, Washington, Selma, his assassination? In Montgomery at age 26?
6. Ralph Abernathy, friend of King, supporter, continuing into the 1960s?
7. The various members of the committee, men and women, forming the office, the phone calls for arranging drivers, money collection, the donation from Mobile, the landlord, the realisation that they would be locked out and documents impounded? People getting out in time?
8. The city authorities, the meetings, the racist stances, the presuppositions about race, no commingling of the races…? The meetings, the discussions, the stances? King and his allies, sometimes antagonistic, challenging, the conditions about the buses, the drivers? The continued meetings, hopes thwarted?
9. King’s father, coming from Atlanta, the impact of the bombing of his house, In deciding to stay, Corretta the same? Later meeting with his father in Atlanta, not following his advice?
10. The range of meetings, the churches, the ministers, Nixon and his initial hostility, changing his mind? The different personalities, speeches, contributions?
11. The visualising of Rosa Parks, not giving her seat in the bus, escorted from the bus, charged? Her participation in the boycott?
12. The effect of the experience on Martin Luther King, at his age, experience, his talent for speeches, his rhetoric, staring people, leadership? The impact of the bombing? Threatening phone calls? His philosophy of non-violence, quoting Scriptures, loving enemies rather than an eye for an eye? The effect of non-violence on opponents?
13. The presence of Bayard Rustin, reputation, self-confidence, journals, Corretta King remembering his lectures, the community respect for him? His philosophy of non-violence? The revelation about his past, Communist, former Communist, gay man? His presence in the groups, contribution, philosophising, lecturing them? The threat, the authorities finding out about him, his being smuggled out in the boot of the car?
14. King and Abernathy, the lawyers, suggestions, tactics? The authorities in the city, adding racist members to the board? Demonstrations of the Ku Klux Klan? Bombings, fires?
15. The decision to go to the Supreme Court? Time passing? Warrants for all the members of the committee? The man wanting to give himself up? The decision that they all would, all marching together, King offering his hands for handcuffing? The going into the building?
16. The decision of the Supreme Court, the long time passing, the end of the boycott, the overturning of Montgomery legislation? The final scene of people going on the bus, Abernathy inviting King, his remaining outside, walking amongst the ordinary people – to his future mission for Civil Rights?

 

 

WORTH

US, 2020, 118 minutes, Colour.

Michael Keaton, Amy Ryan, Stanley Tucci, Tate Donovan, Shunori Ramanathan, Talia balsam, Laura Benanti, Chris Tardio, Ato Blankson- Wood.

Directed by Sarah Colangelo.

Worth is a good word, a solid word. It takes us into the realm of values. In fact, the original title for this film is What Is Life Worth. In fact, as we watch the film and its exploration of characters, we are continually being asked “What is a life worth?”. And how is this question to be answered? In monetary terms, a financial figure? Or beyond that?

The question was asked in the United States after 9/11 and this film is receiving its release, at the Sundance Film Festival and, then, on Netflix, on the 20^th anniversary of those planes crashing into the World Trade Centre and the Pentagon. At the time, the world was preoccupied with the immediate loss of life, the consequences, grief, amazement, continuing health problems, as well as the broader aspects of what became the war on terror and the invasion of Afghanistan (sadly and ironically coming to a close on the 20^th anniversary).

But, there were financial questions asked, issues of insurance, the air companies lobby, compensation by the American government, issues in Congress. With Worth, we are taken into this particular aspect of 9/11, a process from 2001 to 2003, the 9/11 Victim Compensation Fund, with prominent legal mediator, Kenneth Feinberg, accepting the role.

Soon into watching the film, it seemed a good idea to go to Wikipedia and find out something about Kenneth Feinberg, his background, his legal history, his role with the Compensation Fund, as principles. This exercise was enabling, for watching the film and appreciating what Feinberg hoped for, what he did, the challenges, his achievement (and, rather jaw-dropping, the final credits listing of situations in American history in the last 20 years, disasters, compensations, Catholic Church abuse cases… That he and his colleague, Camille Biros have been asked to mediate).

Michael Keaton, a wonderful comedian in the past, has been taking on more and more serious roles, men of integrity. Amy Ryan gives solid support as Camille. And a range of character actors takes on supporting roles convincingly. But, as the film progresses, there are numerous interview sequences, survivors telling their stories, some angry, some still grieving, some bewildered. These are so convincing – and, one hopes, that the short segments serve as audition material for future roles by these character actors.

The other chief character in the film is Charles Wolf, played by Stanley Tucci, an actual character, who lost his wife in the World Trade Centre collapse. Wolf was highly critical of Feinberg’s model for the fund, starting a counter-movement “Fix the Fund”, offering advice, offering a different perspective on contact with survivors and their relatives, meeting with Feinberg and his associates, influencing Feinberg and his approach, ultimately with the declaration, “The Fund is Fixed”, finally ensuring that the Victim Compensation Fund requirements for registration were filled in time for the project to go into action.

For those of a Jungian frame of mind, this is a powerfully dramatised presentation of objective structures for funding compensation relying on the letter of the law, accuracy and precision, setting limits, eschewing exceptions. Charles Wolf’s approach and, was highly personal, much more subjective in respect of and respect for those who grieved and suffered, listening to stories, realising that categories could be constricting and that there were interpretations to be made. Two particular stories come to the fore to illustrate this, a fireman killed and his loyal wife’s discovery that he had another family who are in financial need, a gay man who lost his partner (whose parents deny his sexual orientation),

It is rather saddening to read some bloggers dismissing the film as boring. Others declared that they were engrossed, moved, sharing an experience of realising what a life is worth. Yes.

1. The title? What is life worth? What is a life worth? In general, in the context of 9/11? The Victim Compensation Fund?
2. The period, 9/11, the impact, the event, tragedy, personal grief, issues of compensation?
3. Washington, legal offices, the compensation fund offices, Ken Feinberg and his home, the travelling by train? The feel of the period? The musical score?
4. The character of Kenneth Feinberg, legal experience, his age, public service-minded, his work with Camille over the years? His home life, with his wife, her support, a sounding board? The issue of the fund, the discussions with the attorney general, his accepting the task, his motivations? Camille and her agreeing? His lectures, students, the choice of Pryia and Daryl for the staff?
5. The setting up of the office, the discussions with the attorney general, the implications for legislation, for Congress, compensation, justice, issues of suing, the airline lobby? The role of Lee Quinn? The face of legislation, the face of deals? The many interactions between Ken and Lee? Differences, hostilities? The issue of coaching witnesses for interviews?
6. The setting up of the parameters for the fund, legal, letter of the law, no exceptions? The deadlines, the number of submissions required? 80%? The meetings, Ken and his manner of addressing the crowd, the hostility, questions, anger? In felicitous phrasing? Advice from Camille?
7. Charles Wolf, his background, local concerns, his explaining the history of campaigning for the retaining of the bridge, two years, his failure, his wife reminding him that he was not the bridge itself, he was still there? Her death? His different perceptions for the fund, his slogan that the Fund was a Fix? His meetings, drawing the relatives of the survivors? His going to see Ken Feinberg, courteous, the meeting, coming people down, yet the different perspective? The comment on the typos, criticism of the whole fund framework?
8. The effect of the interviews? The range of characters for the film? Only some minutes of performance yet their creating instant, strong characters, grief, reactions to 911? Each of the interviewers? Ken not interviewing, starting to listen in, his being challenged? Staying back over time to listen to Mrs Donato, previously meeting her brother-in-law? The film’s focus on Karen Donato, her devotion to her husband, her image of him, not wanting the money? Frank and his meetings with Ken? The later revelation about her husband’s double life, alternate family, Ken and his confrontation with Frank, Karen overhearing, her reaction, later coming to see him, wanting the other family to have some compensation? The gay man, the discussions, legislation about partnerships, going to see the partner’s parents, their denial?
9. The discussions with Charles Wolf, Priya going to see him, the discussions? His visit to Ken, an alternate approach to dealing with people? The shift from the objective and deviations to more subjective, personalised, exceptions? A new framework?
10. The change of heart, people becoming more confident, telling their stories, the deadlines coming, the percentages going up?
11. The discussion with Charles Wolf, his accepting the changes, that the Fund was Fixed? His urging his followers to go to Ken?
12. The deadlines, Lee Quinn and the compensation cases? The discussions with the attorney general? Congress issues?
13. The final rush, getting up to 95% at the time of the deadline?
14. The achievement for such a compensation fund with such a national tragedy? In the final information about can Feinberg, Camille, the vast number of cases they have taken up and mediated?

JULIETA

Spain, 2016, 99 minutes, Colour.
Emma Suarez, Adriana Ugarte, Michelle Jenner, Rossy de Palma, Inma Cuesta, Daniel Grao, Dario Grandinetti.
Directed by Pedro Almodovar.

This is a quietly interesting portrait of women from Spain.

For over 30 years, Pedro Almodovar has been at the head of the Spanish film revival after the Franco era. Beginning with slighter, more comic films, he moved into more serious explorations of Spanish society, winning Catholic awards for All About My Mother, Oscar awards for Talk To Her, challenging the Catholic Church and the sexual abuse crisis in Mal Educacion. He has been pr on aised for his films exploring the characters and psyche of women.

Julieta is a middle-aged woman, living in Madrid, planning to move with her partner to Portugal, eager for the move, engaged in packing. By chance, in the street, she encounters a young woman she used to know as a girl who gives her information about her daughter who has been missing from Spain for 13 years. This has profound repercussions for Juliata, sending her back into her memories, sending her back to her regrets, and breaking the plan to move from Madrid.

What occupies her then is writing to her daughter, without real hope of being able to send it, explaining herself, her life, her relationship with her daughter’s father, her growing up and the tragedy that struck them.

This means that the central part of the film is told in flashback. Almodovar has chosen two actresses for the younger Julieta, Adriana Ugarte, and for the older, Emma Suarez, very similar in looks and manner which makes the character most credible.

Because we see Julieta disturbed by the news about her daughter, she initially appears very serious so that we are quite surprised at the beginning of the flashback when Julieta, a temporary classics teacher, engages a class with stories of mythology and the sea with great vivacity. She has a mysterious experience on a train, a passenger near her disappearing, the train unexpectedly stopping, and the finding of his body – and she is moved to blame herself for not responding to him in the train carriage.

But she does encounter a man on the train, goes to visit him in his seaside house, is pregnant and gives birth to their daughter.

While there are some scenes of the daughter as a little girl, there is more focus on her as a teenager, going to a youth camp, becoming friends with the young girl from Madrid, going to stay with her – at the very time the tragedy strikes.

It is meant as a compliment to say that the film and the narrative are not sensationalist, not for hope and stated. Here is the story of a woman, younger and older, a wife, mother who suffers for years at the disappearance of her daughter.

The final scene, again understated, when Julieta is seen driving to Portugal with her partner, is one of hope.

1. The films of Pedro Almodovar? His insights into Spain? Into women?

2. The title, the focus on Julieta, a woman’s story, the older Julieta and her memories, her relationships, the regrets about her daughter, her writing the story for her daughter?

3. Madrid, the Spanish countryside, the country towns, the seaside town in Galicia, the waters of the storm? Her father’s farm in Andalusia? The interiors of the homes? The musical score?

4. The introduction, Julieta packing, ready to leave Madrid, her love for Lorenzo, a year in preparation for the move? The chance meeting Beatriz in the street? News of her daughter? The revelation and its effect? Keeping it a secret from Lorenzo? The decision to stay, her moving apartment, moving in?

5. Lorenzo, his character, the puzzle, his hopes, meeting Julieta in the past, his friendship with Ava, the book, their meeting again, developing the relationship? Ava in the hospital? Ava bequeathing Lorenzo to Julieta? His understanding, following Julieta, bringing her the memento – and the letter?

6. The young Julieta, teaching, exhilaration, Ulysses, the myths of Calypso, the different meanings of the sea? On the train, the man in the compartment, the train stopping, hitting the man, seeing his body brought back, her sense of guilt for not responding to him? Her talking to Xaon, the sexual encounter, the bond between them, her becoming pregnant? Finishing her teaching, the message to visit him, the encounters with Marian, intending to go, staying, the time together, remaining? On the boat and the sea? Her pregnancy? The birth of the daughter, the effect on her?

7. Xaon, character, his love for Julieta, his liaison with Ava while she was away, the secret of the years, the discovery of the truth, the impact on Julieta, her anger, Xaon going out, on the boat, the storm, his drowning? The news on the television?

8. Her daughter, her birth, childhood, with her grandparents? The years passing, the happy childhood, with her father, fishing? Her not wanting to go to the youth camp? Being persuaded to go, the phone calls, the friendship with Beatriz, Beatriz’s mother inviting her to stay? The holiday? Julieta and the experience of her husband’s death, going to Madrid to explain the situation? The decision to stay in Madrid – and the daughter going to sell the house, the discussions with Marian, discovering the truth about her father’s death?

9. Ava, her at work, the making of the figures, Julieta packing the figure at the beginning, Lorenzo and his gift of the figure?

10. Julieta, her background in the country, her mother being ill, love for her, sharing the room with her? Her father, his giving up teaching, farming? His relationship with the young woman, her work, care for Julieta’s mother, the sexual relationship? Her dressing her mother up to sit in the garden? Her mother’s death, her father’s behaviour?

11. The daughter, her decision to go on a retreat in the mountains, the three months? Julieta arriving to pick her up, her daughter gone, the counsellor’s explanations, the destination a secret, Julieta upset, the passing of the years?

12. Encounter with Beatriz, the later conversation, Beatriz of the friendship with the daughter, the daughter misinterpreting it, the pressure on Beatriz, going to New York, her job? Information that the daughter was married and had children?

13. Marian, her dislike of Julieta, her poisoning her daughter’s mind?

14. The daughter’s letter, the news, having children, one of the children dying – and Lorenzo pointing out that there was a return address?

15. The final scene of Lorenzo and Julieta driving from Madrid into the countryside and to…?

POI E

New Zealand, 2016, 92 minutes, Colour.
Patea Maori Club.
Directed by Te Arepa Kahi.

This pleasant documentary is something of a New Zealand home movie, very appealing for New Zealanders and those in the know, enjoyable for those not in the know for whom it can be entertaining or just be of passing interest.

There was a great deal of video camera work being done in New Zealand in the early 1980s and a lot of it is very evident here. And there is a lot of talking head material in 2015 when this film was shot – and some enjoyment in seeing some of the people being interviewed in the early 1980s and the older incarnation and in the present.

It should be said that this is not just a New Zealand story but a very Maori story.

The title refers to a popular song, developed by a strong entertainment personality, Dalvanius Prime, Poi E. it is a blend of traditional Maori music with the popular styles of the 1980s. Dalvanius composed it with an elderly lady, Ngoi Prehairangi, blind, much admired in the community, using the lyrics. It soon became quite a hit in New Zealand, though many of those involved in watching its composition were not particularly enthralled. However, tapes were made, a director was persuaded to make a video and Prime travelled around to various clubs and gymnasiums with the song, with its eventually finding its way onto New Zealand radio and New Zealand television. It has become something of an unofficial national anthem.

It was a hit.

So, while the film traces the origins and development of the song, with quite a number of performances, there is excitement when Prime and his group are invited to the UK and appear on the television program, Blue Peter. And this leads to their being included in a Royal Gala performance in the presence of the Queen, the Duke of Edinburgh and Princess Anne.

Dalvanius Prime died in 2002, so his presence in the film is through the many video clips and television clips, a big man, genial, intense with his ambitions, encouraging Maori people in the use of their language, rediscovering it or developing it, with music and with pride.

The song was written in the town of Patea, North island, West Coast, near Hastings. Initially, the song was sung by the locals and this developed into the Patea Maori Club, men and women, in traditional dress and paint, the women swaying and playing with their poi, the balls on thread, who toured with the song.

The memories have been preserved, the singers, a dancer with the Michael Jackson-like moves, the television shows, the performances. And the oldies have the chance to think back, to reminisce enjoyably, and pay tribute to Dalvanius Prime.

SPIRIT OF THE GAME

Australia, 2016, 108 minutes, Colour.
Aaron Jabukenko, Ken Sarbo, Grant Piro, Mark Mitchell, Denise Roberts, Marina Prior.
Directed by J. D. Scott.

It should be noted immediately that this is a ‘Faith Film’. Audiences who appreciate Faith Films will find it much to their liking. Those who are wary of Faith Films will probably remain wary.

The story of the film is based on actual events, focusing on the Australian basketball team for the Olympic Games in Melbourne in 1956.

The film opens in Idaho in the early 1950s, portrayed almost as ideal America in the calmness and prosperity of the Eisenhower era. DeLyle? Condie (Aaron Jabukenko) is what one might call a regular fellow, conscientious, a student, a basketball player, devout, comfortable in using faith and prayer language with his parents. He is to be engaged, goes off to Salt Lake City for studies and is disappointed when his fiancee breaks off the engagement and does not give him a reason.

The Church of Latter Day Saints has not been mentioned explicitly up to this point but audiences may have intuitions that this is the faith base for the family. DeLyle? opts to go to Australia for two years of missionary work. Since the writer-director was born in Dandenong in Melbourne, it seems fair game that he can present the Australians of the 1950s as rather down-to-earth, slamming doors on the visitors, their being pelted with tomatoes by kids, and the screenplay having the missionaries repelled by Vegemite.

On arrival, the missionaries find that their regime is fairly strict, that in some sense they are a closed community except when they try their door-knocking outreach. On arrival, Condie is invited to participate in a basketball match, much to the ire of the President and his wife (Mark Mitchell and Denise Roberts). There is quite some discussion, familiar to religious communities about contact with the world and yet this contact being a possibility for evangelisation.

After some interventions, especially by Condie’s father with the elders in Salt Lake City, permission is given for the Mormon Elders to form a team and, at the invitation of Ken Watson (Grant Piro in a very persuasive performance), considered the father of Australian basketball, they begin to coach the rather hopeless Australian team.

It is here that the film picks up a great deal of excitement for most audiences, even for non-faith audiences, as the team show their skills, play a team of prisoners at Bendigo prison, and are challenged by the French Olympic team whose coach is certainly a very bad and angry sport. The climax of the film is a rematch against the French who play with no holds barred against the earnest Mormon Yankees. Whatever the hostility initially towards the Mormons, religion-wise, the crowd (and the cinema audience) are enthusiastically and vocally supportive of the American team.

This is the kind of film that is called inspirational and could contribute a lot to a changing image of Mormons and their beliefs, their mission. The director does have a missionary background, some time in PNG as well as in the Solomon Islands and has made a number of religious features and documentaries.

But, even with reservations, it is not hard to be caught up in the spirit of the game.

1. A true story? The piece of Australiana? Americana?

2. A sports story, a faith story, inspiration story? A Mormon story?

3. Idaho, the 1950s, homes, the town, sport, Salt Lake City and the University? The Mormon headquarters? The musical score?

4. Melbourne, the 1950s, the suburbs, streets, homes, the Mormon headquarters, the Bendigo prison? The warehouse for the basketball match? The Olympic Games settings? The look of the period, the feel? The television excerpts?

5. The American spirit, sport, sport and religion, the mission and sport as a contact with people?

6. The Australian jokes, the attitudes of the people towards religion, their behaviour, the Vegemite jokes? The Australian public as anti-Mormon, wary? Attitudes towards the United States? The World War II history? The collaboration in basketball, the play, supporting the underdogs, admiring the spirit, the violent behaviour of the French, the loud and vocal applause?

7. The comedy family, De Lyle, his age, the boy in the 1950s, American, nice, his proposal, excitement, the joy with his parents, the religious background, faith and prayer? The fiancee, her breaking of the engagement, no reason, the effect? His becoming listless? At the University? The possibilities for sport? His decision to go on mission?

8. The Mormons in Australia, the Elders, the partners, their accommodation, the president and his wife, strict, proper, doors slammed, kids throwing tomatoes? Possibility for depression – but yet persistence?

9. De Lyle and his arrival, his partner on the boat, invited to the basketball match, participating, his skills? Ken Watson observing him? Their meeting the young wife? Watson’s interest, the president forbidding the play? His new partner, proper? Visiting the house, meeting the wife again, her young brother, the husband and his antagonism after play, the boy and throwing the baskets? Opening up of possibilities for contact?

10. The idea of evangelisation through sport, the contacts, not being isolated, not inward focused, scenes of argument with the president, the president saying no, his stern wife? Mr Condie writing to Salt Lake City Elders? The change of heart and the reasons? Letting the Australian Mormons know?

11. Selecting the team, the skills, their practices? Discussions with Ken Watson, the coach? The coaching, the poor Australian players? The details of training? The invitation to play at the prison, enjoying it, the young man asking help from Condie’s partner?

12. The atmosphere of the Olympics, television, the spirit?

13. The French team, the playing, the coach and his hard attitude, the players? The win, close, the superiority of the Yankee Mormons?

14. The issue of the re-match? Setting the terms? In public? The crowds, the brutal play of the French, the reactions of the coach? The remnant of the Yankees, the injuries? Losing but slightly? The French leaving? The audience and the applause?

15. Further information about the program and its continuance into the 1960s? The Yankee Mormons beating the Olympic teams except the Russians?

16. Sport and spirit?

17. The nature of mission, contact with people in the culture?

MISS REPRESENTATION

US, 2010, 85 minutes, Colour.
Directed by Jennifer Siebel Newsome, Kimberlee Acquiro.

This is a strong documentary film about women, women’s issues, men’s issues with women, and, from the title, the media representations or misrepresentations of women.

The director and her team were keen to make this film, especially because at the end, the director gave birth to a daughter – and was concerned about her life in a chauvinist world with crass misrepresentations of women.

The theme of the film is familiar but it is an interesting 90 minutes with a wide range of images, many of them quite disturbing, even disgusting the strong point is made.

Along with the images, there is great concern, even crusade about the representation of women. it is very much a documentary of talking heads, with a great number of women, and several men contributing. There are many very articulate women advocates from a range of organisations. There are several American women who stood for politics – and, in the light of later years and Hillary Clinton’s campaign for the US presidency, strong opinions from Hillary Clinton as well as footage of her campaign in the 2008 presidential election. There are also quite a number of talking heads from the arts, some with great prestige like Geena Davis, and Jane Fonda, drawing on their experience of film and television as well as their social concerns.

Their comments and the juxtaposition of the talking heads with so many images has a cumulative effect, especially with the crass objectifying of women, sexuality, nudity, sexual violence. And, once again, there is a concern for the impact on children and the sexualisation of children at younger and younger ages.

While there are many similar films on this theme, this is a useful 90 minutes to visualise and dramatise the key issues.

THE LAST GREAT WILDERNESS

UK, 2002, 95 minutes, Colour.
Alistair Mackenzie, Jonny Phillips, Ewan Stewart, David Hayman, Victoria Smurfit.
Directed by David Mackenzie.

Shot with digital camera (which makes the bleak Scottish highlands even bleaker), this is an experimental film that tries the patience of the audience. Two young men, one on the run, the other wanting to burn down the house of the pop star who stole his wife, find themselves out of petrol and stuck in the oddest of psychological retreats run with questionable pseudo therapies. It all looks as if they made it up (or failed to make it up) as they went along. It is difficult to work out the characters' emotions. Huge plot leaps occur without explanation.
The film received a lot of derogatory reviews, but bloggers decided to look at it serious and comic blend with touches of horror and were in favour of it.

Director David Mackenzie went on to quite a significant career with a range of films which included Asylum, Hallam Foe, Starred Up.


1. The impact of the film? Characters, plot, confusion? Serious and comic? Bizarre?

2. The subsequent work of the director and this film seem to seen in hindsight?

3. The Scottish landscapes, evocation, the edge, the title and the wilderness? The range of songs? The musical score?

4. The craziness of the plot, of the characters, of the lodge in the middle of the wilderness, those undergoing therapy?

5. Charlie, his motivation, vengeance, attacking the celebrity, the song about his wife and its being played? Going into action, the encounter? The car, running out of petrol, going to the Lodge, the encounters, the people in the lodge, the therapies?

6. The gigolo, pursuit, fears of castration? Encountering Charlie, travelling with him?

7. The lodge, the cult, the leaders, the paranoid, the young mother, the priest and abuse…, The couple managing the cult? The woman, her dying, the wake?

8. The hit men, their pursuit of this target? Charlie killing them? The gamekeeper, shooting? The role of Clare and her concern?

9. A portrait of dysfunctional people, comic touches, bizarre touches, the trampoline, the pursuit in the fields, the deaths, the brutality of the ending?

THE LAST KISS

US, 2006, 104 minutes, Colour.
Zack Braff, Jacinda Barrett, Casey Affleck, Rachel Billson, Michael Weston, Eric Christian Olsen, Marley Shelton, Harold Ramis, Blythe Danner, Tom Wilkinson.
Directed by Tony Goldwyn.

One way of beginning a review of The Last Kiss (an adaptation and remake of an Italian film of the same name, directed by Gabriele Muccino, 2001) is to note the archly critical comments by older reviewers. They were clearly impatient with the main characters who are all nearing thirty and are experiencing pre-midlife crises. The implication is that they should not be so irritatingly immature. While that may be a worthy cause to pursue, it is not particularly realistic. Each generation has to make its own mistakes.

Which is what The Last Kiss is about.

Zach Braff, who has impressed TV fans with Scrubs and film fans with Garden State, is the focal character. Scared of marriage but seemingly devoted in commitment to his girlfriend (Jacinda Barrett), he discovers that she is pregnant. His best friends are not that much help. One (Casey Affleck) is a nice man whose wife, tired with their new baby, is driving him mad; another is a serial womaniser (Eric Christian Olsen); the other is a sad sack (Michael Weston) who (desperately) won’t accept the break-up with his girlfriend. The latter’s solution is to go on a caravan trek to Tierra del Fuego with the friend-about-town.

The pregnancy has a deeper effect on our hero than he realises and when a college student (Rachel Bilson) flirts with him and is prepared to go all the way, he… Well, that would spoil the ending and the resolution.

In the background, his girlfriend’s parents are having a crisis of their own after thirty years of marriage (Blythe Danner and Tom Wilkinson).

The effect of a presumed affair has a devastating effect on the pregnant girlfriend. She feels so deeply betrayed that it seems that there could be no possibility of forgiveness or reconciliation. What can an offender do to atone?

Actually, answers to these questions are offered. One hopes that this makes an impact on audiences who are the same age as the protagonists and creates a little more understanding and tolerance from those who have been through these crises and now observe from a point of detachment and superiority.

1. Romantic comedy? With serious undertones? For 20 and 30 somethings?

2. The American locations, the American city? A remake of an Italian film?

3. Title, Jenna’s explanation about the death of her grandmother? Themes of love, commitment, marriage, children?

4. Michael and Jenna, their age, living together, the pregnancy? His work, the office, his friends? Her writing her dissertation? The parents, the pressure? Michael and his doubts?

5. Michael going to the wedding, the encounter with Kim, confiding in her about himself and Jenna? The response, flirting? Michael and his being faithful to Jenna? Kim giving him her information? His visit, the party?

6. Michael deceiving Jenna, using Chris as his cover? Chris’s reaction, his own personal crises and breakup? Michael and not telling the truth?

7. Michael and Kim at the party, the kiss, going to her room? Michael and his sense of guilt, remaining faithful?

8. Izzy, pining for his former girlfriend? The funeral?

9. Kenny, the womanising? Their support for Michael?

10. The death, the gathering, Michael being found out? Chris remaining silent?

11. Jenna, the confrontation, the knife, ousting him?

12. Michael going to Kim, the sexual encounter, his leading, her having the keys? His reaction? Her reaction?

13. Stephen, his relationship with his wife, problems? His talking to Michael, urging him to tell the truth? His telling the truth about each of the encounters with Kim, Jenna and her anger?

14. Michael, ousted, keeping vigil, the days, friends giving him drinks, Stephen proud that he had told the truth?

15. The days going past, Jenna and beginning to relent, talking, her explanation of the kiss? Opening the door?

INTRUDERS/ SHUT IN

US, 2015, 90 minutes, Colour.
Beth Riesgraf, Rory Culkin, Jack Kesy, Timothy T. Mc Kinney, Joshua Mickel, Martin Starr, Leticia Jimenez.
Directed by Adam Schindler.

Intruders is a film about thieves coming into a house to steal money and then terrorising the young woman in the house. It was given an alternate title, Shut In, which transfers the focus of attention to the woman herself. She is agoraphobic. When her invalid brother dies, it is expected that she will actually go to the funeral but she cannot bring herself to go and so she is at home when the thieves come.

There is quite some brutality in the treatment of the woman – but, there are further twists to the plot in which the intruders themselves become victims.

There are complications about her past, about treatment by her father, about a series of killings, where the family trapped those guilty of perversions and killed them and put them in a freezer. The house is equipped with all kind of mirrors, traps, receding steps, which gives the woman an advantage over the thieves.

And another further complication is the young man who has brought her meals for a year, has refused to accept her money, but has told a friend about the money – and he comes and shares in the entrapment.

This is one of those terror films, with a touch of the ugly and brutality, but achieves quite well what it set out to do.

1. Title, the emphasis on the thugs and their moving into the house, the mission? The alternate title and the focus on Anna and her agoraphobia?

2. The confined space, the interiors of the house, the variety of rooms, upstairs, downstairs, secret passages, mechanisms for confinement? An eerie atmosphere? The musical score?

3. The introduction to Anna, timid, within the house, looking out, Conrad looking strange, sitting outside? The background story, his cancer, and her caring for him? The tension between them? His death?

4. The visit of the solicitor, the documents, Anna unwilling to sign them? Her return later, coming into the house, and with the knife, her leaving peacefully?

5. Anna, her agoraphobia, the decision to go to the funeral, changing to a black dress, unable to leave? The phone calls from Charlotte urging her to go?

6. Dan, his regular visits for the year, bringing the food, sharing with Anna? Her offer of the money, his refusal?

7. Anna sitting alone, the intruders coming in, thinking she was not there, coming for the money? The information coming from Dan, his friendship with the younger brother?
8. The personalities of the intruders, J. P. And his leadership, apprehensive, yet tough? Perry, unscrupulous about violence? His treatment of Anna, killing of the bird? The younger brother, admiring his older brother, coming along, friendship with Dan, reluctant about violence?

9. The drama of Anna being able to elude them, the various hiding places, her upper hand, trapping them in the basement, the staircase receding, locked in? The encounter with the younger brother, upstairs, the scissors and her killing him, taking the body downstairs? The reaction of the other two?

10. The confrontation with Perry, his violent urges, wanting the money, the search the house, Anna hitting him, his trying to throttle her, the blood, his death?

11. J.P., wanting to get out, the reaction to the deaths, his younger brother? The gun? Getting through the door, and her leading him on, the bedroom?

12. Dan, his arrival, partly complicit, his explanation of the funeral and the mourners, Anna not trusting him, pushing him into the basement, dislocating his knee, Perry putting it back, his being stranded in the basement? Getting out? Knocking on the trapdoor when the solicitor was present? Anna explaining his presence?

13. Anne, the surveillance, the microphone, the camera, the mirror?

14. The explanation of what it happened, her father’s abuse of her, her compliance, the role of her brother? Killing the father? Trapping perverts, wanting them to confess, killing them, the noose in the basement, the bodies in the freezer? Anna saying they deserve death, saving their victims, wanting them to apologise?

15. JP, his saying he was sorry, laughing, his getting out, the struggle with Anna, the gun, his death? Then watching, J. P. Threatening him?

16. The deaths, Anna able to go outside, not fearing the external world – for future?

CHILDREN OF THE DUST

US, 1995, 180 minutes, Colour.
Sidney Poitier, Michael Moriarty, Joanna going, Billy Wirth, Regina Taylor, Jim Caviezel, Farah Fawcett, Hart Bochner Robert Guillaume, Shirley Knight, Grace Zabriskie.
Directed by David Greene.

Children of the Dust is a 1990s television miniseries. It is a post-Civil War story, focusing on the American Indians, their being overcome by the military, the allotment of lands, supervision by agencies, movements towards rebellion and self-assertion. it is also a story about American Blacks in the aftermath of freedom from slavery. It is a story about white families from the American South and issues of racism, the Ku Klux Klan, lynchings and violence.

The length of the film enables it to have a great deal of attention given to the various plotlines. What binds it all together is the presence of Sidney Poitier, in his mid-to-late 60s, portraying a gunslinger who has parents who are Indian as well as black. He is shown negotiating with the Indians, dismayed at a military massacre, rescuing the son of the chief and enabling this boy to grow up in an Indian agency but with opportunities for progress in the white world. Later, he is asked to accompany a group of black settlers in a land race so that they can find land and to build their town, Freedom. It is in this context that we see the activities, lynchings and castrations, by the Klan.

The first part of the film shows the Indian agent, sympathetically played by Michael Moriarty, and his subdued wife, Farah Fawcett, from Baltimore, who defines the west as oppressive. There are two children who grew up with the Indian boy, the sympathetic Rachel who is in love with him and the bigoted Dexter who is against him. The Indian is played by Billy Wirth and the brother and sister by Joanne Going and Jim Caviezal.

The film shows the progress in the 1880s and 1890s, the building up of towns – and the children of wealthy white families who were ambitious for the towns but also resentful against the Blacks, racist, and using the Ku Klux Klan.

There are some interesting subordinate characters, a sympathetic Regina Taylor is the woman who teaches the gunslinger to read, Shirley Knight as the manager of the white household presided over by Hart Bochner.

The film is directed by David Greene who made many films and television movies and also Godspell.

1. A post Civil War story? The Indians, their lands, the agencies? The freedom for the slaves? The role of the military? Rabid racism in the South, the Ku Klux Klan? The land rides and land claims? Progress towards the end of the 19th century? A 19th-century American story?

2. The film presented as a miniseries, the various lines of plot? The title and its reference?

3. The locations, the West, the Indian agency? The town of Guthrie? The homes, the town and its growth, business buildings, mansions, the opera house? The Indian reservation land? The land race and claims? The building of the town of Freedom? The mountains, the finale, the cave? The musical score?

4. The focus on Gypsy Smith, Sidney Poitier in his late 60s? Part Indian, part black? His career as a gunslinger, the memories of his past, his marriage, the death of his wife and son? Friend of the Indians, a friend of the chief? Going to interpret with the chief, the guns, the massacre, his saving the boy, taking him to the Maxwells? In the barn with the boy, leaving and going on his work? Time passing? The Negroes and the request for him to accompany those on the land run, his refusal, listening to the negotiations, the bigotry, his shooting? The information from Rose and her background? Going to the group, preparing for the run, the encounter with Drusilla, the attraction, his learning to read from her? The run itself, the ride, the dangers, the Negroes and their land claims, the town of Freedom? Building it up? Gypsy becoming the sheriff? The incident with the boys and the young white girl, the father brutalising her, charging the boys with rape? Gypsy saving them, hiding them? The attack by the men, the burning of the town, the boys lynched? The Ku Klux Klan, the disguise, the members under the sheets? Gypsy being shot, castrated? The effect on him, silent and morose, recovering, hard with Drusilla, her wanting to help? His going for vengeance? The man with the Indian girl, capturing him, the threat of hanging, getting the information? The confrontation with the sheriff and shooting? His resting with Drusilla, a lying by his side? His saving Corby and Rachel? In the cave, his decision about his death?

5. Maxwell, his work as an agent, in the West, his wife, who coming from Baltimore, finding the West too difficult, the wind, no trees? Her racist and bigoted outbursts? Her children, the story of the wife killing herself and her children? The growing despair, hanging herself, Rachel finding her?

6. The Indian boy at the Maxwells, the name of Corby, at the table, Rachel and her fondness for him, Dexter and his hostility? In the barn, the bed, Gypsy helping him? Growing up, his place in the white world, the possibilities for his career, going to study in the East? His love for Rachel? His father’s release, his decision to go with his father? Riding with the Indians, with his horse that he tamed? His not being welcome in white society, even Maxwell thinking it not appropriate?

7. Dexter, the thief, his job, teaming up with Hornbeck, his being his yes-man? His racism? Attitude towards Rachel, spurning of Corby? Part of the Klan? In the final confrontation tween Hornbeck and Rachel? Her later telling the story of his lonely death?

8. Maxwell as the agent, his wife, the children, kind, taking Corby in, yet the difficulty in accepting him for Rachel later, his freeing the captured Indians, going to the cave to plead with Rachel?

9. Rachel, as a little girl, sharing with Corby, relationship with her mother? Hopes, love for Corby, his leaving? Her going to St Louis? Education, fashion? Her return, meeting with Hornbeck, his desire for her as his wife? Prospects? With Corby, the relationship, the sexual encounter, the dirt on her dress? Pregnant? The wedding? Her life, the formalities, place in society, the regime by aunt Bertha? Getting the key, the locked cupboard, finding Hornbeck’s Ku Klux Klan sheets? His beating her? The confrontation in the barn, her having the gun, the shot, killing Hornbeck? The escape?

10. Hornbeck, his ambitions, his memories of the Civil War and the deaths of his parents, anti-Negro? Ambitions, wealth, the trophy wife, his thugs, the Klan, castrating Gypsy? Exposed, in the barn, his death?

11. Whites in the Southern West? The results of the war, freedom? The Blacks, deaths, lynching? Society not accepting mixed race?

12. The men of the West, the whites, the sheriff, the gunfighters?

13. The Blacks, freedom, the meetings, the plan for the land run, Gypsy and Drusilla? The town of Freedom?

14. The cave, the military, Maxwell pleading, Gypsy coming out and being shot? The cannon fired at the cave and Corby’s death?

15. Rachel and Drusilla and their visiting the cemetery at the end?