WALLANDER: THE TROUBLED MAN

UK, 2015, 89 minutes, Colour.
Kenneth Branagh, Terrence Hardiman, Jeany Spark, Ann Bell, Christopher Fairbank, Kitty Peterkin, Harry Hadden-Paton?.
Directed by Benjamin Caron.

The Troubled Man is the last in the series of novel into television films with Kenneth Branagh. They began in 2008 and concluded in 2015, three films in each of the four series.

This film is significant for the health condition of Wallander, the bouts of dizziness and loss of memory, loss of a sense of place, not recognising people – seen here in several circumstances. The doctor has given a prognosis and, by the end, while Linda seems to be accepting of his condition – with a vision of his father, David Warner reappearing, a reconciliation with his son-in-law and the love of his daughter and granddaughter.

There is a final mystery to be solved, the father of his son-in-law walking out and disappearing, revelations about Soviet submarines in Swedish waters, a Soviet link, issues of betrayal – which involved the father and his wife.

Wallander is his usual self, with his work, but also with his deteriorating condition – a cheerfully sad ending for the series and a dedication to novelist, Henning Mankel, who died in 2015.

1. The last of the series? Audiences and their interest in Wallington, character, detection, variety of cases, Swedish setting? Kenneth Branagh’s presence and performance? Wallander’s personal life? Relationships, father, wife and divorce, women, daughter, granddaughter?

2. The Swedish setting, the city, the coast, homes? The musical score?

3. The introduction of the case,Akan, introduced in the previous film, Linda’s father-in-law, friendship with Kurt, the morning, going out for his walk, disappearing?

4. Wallander himself, getting older, the turns, Alzheimer’s and the onset, his bewilderment, loss of recognition of people? Recovery? The doctor and the prognosis? His having to go to the internal affairs meeting?

5. Linda asking him to go to look for Akan, the interview with Louise, the search of the house, the desk, the tape? The issue of the submarines, the commands, possible traitor? The revelation about the daughter and Kurt’s visits to her? Kurt finding the scrapbook? Implications for Akan, Louise? Louise found hanging?

6. Kurt and the connections, the friend and the discussion about boats, his loyalty to Akan and Louise? The official, the sinister touches, the revelations, the second meeting, the information, for finding Akan, and the scandal?

7. Hans, borrowing money, Kurt and his fierce accusation about stealing?, The concern, and his not knowing about his sister, puzzling about his parents? His devotion to Linda and Clara?

8. Kurt, going to find Akan, the abandoned location, on the boat, Kurt distracted, Akan going into the water, his death?

9. The funeral, the verses and their themes?

10. Curtain hounds, reconciliation, watching Linda and Clara? Curtain of the beach, the vision of his father? Is acceptance of his condition – and happily walking on the beach with Linda and Clara?

11. An appropriate ending to the film and its series? And the dedication to Henning Mankel after his death in 2015?

SHERLOCK: THE ABOMINABLE BRIDE

UK, 2016, 89 minutes, Colour.
Benedict Cumberbatch, Martin Freeman, Rupert Graves, Una Stubbs, Mark Gattis, Catherine Mc Cormack, Tiom Mc Inerney.
Directed by Douglas Mc Kinnon.

After three seasons of Sherlock, television movies where the celebrated detective operates in the contemporary world, this is a special one-off film, released as a special event in cinemas and then on television.

It is a rather complicated affair. it opens with a collage highlighting the principal events and characters in the previous films. There is then a time shift and a return to 1895, Dr John Watson coming back from campaign in Afghanistan, settling into London, meeting a friend and being offered the sharing of digs in 221a Baker Street. They go to meet Sherlock Holmes who is whipping a corpse, experimenting on how long it takes for the blood to stop flowing in a dead body!

There is then a transition to a new case after Dr Watson has published quite a number of stories and they are very popular – although Mrs Hudson, Una Stubbs again, complains that she is not included, as does Dr Watson’s servant.

Holmes, played with style by Benedict Cumberbatch, is being particularly introspective. There is a humorous moment when Mary, Watson’s wife, disguises herself in black as a client, wanting some opportunity to see her husband. Inspector Lestrade, Rupert Graves again, comes in concerned about two killings – by a bride who then shoots herself but appears later shooting her husband.

There are various explorations to puzzle out what happened, visits to the morgue, the head mortician disguised as a man, but not deceiving Watson, interviews with various witnesses – and a particular case where a callous landowner has seen the bride, is terrified, and his wife comes as a client for Holmes to investigate. He and Watson do see the bride who vanishes.

There is a Monty Pythonesque scene where Holmes and Watson go to visit Mycroft, Mark Gattis, one of the originators of the series, disguised in a fat suit and over, over-eating. And we see Mary Watson, employed by Mycroft and doing her own investigations.

Holmes also has an encounter with Moriarty, again Andrew Scott, who seems to be dead, but reappears, continually taunting Holmes, until they fight once again at the Reichenbach Falls, Dr Watson intervening and shooting Moriarty.

There is a return to the 21st century and it seems that Holmes has been withdrawing into himself, fantasising about Moriarty, rejoining Mycroft, John and Mary, taking drugs, cautioned by Watson, but returning the past to try to solve the mystery – which includes digging up the corpse of the abominable bride.

Mycroft had warned that the enemy had to be lost to – and, when the solution comes, it is a plot by women suffragettes, including the widow of the frightened aristocrat, who has theatrically engineered the killings – with the bride herself, suffering from consumption, doing the killing but then sacrificing herself as a witness to the cause. In his introspection, Holmes also imagines that Moriarty is behind the plot.

Return to the present, case solved, but still the prospect of Moriarty in future films.

1. The popularity of the television series? Of the contemporary setting? On the reliance on Conan Doyle stories? 21st-century adaptations? Benedict Cumberbatch and his stylish Sherlock? Martin Freeman and his style Has John Watson?

2. This film as a one-off event for cinema and television? A special story?

3. The introduction, the collage of events and characters from the previous series? And then the time shift to 1895?

4. The 1895 settings, the streets of London, Baker Street, the rooms, costumes and decor? The encounter with Mycroft at his club? The country mansions and the estates? Action in London, the streets, Limehouse?

5. The contrast with the 21st-century settings, with which the audience was familiar, the planes, Baker Street, costumes and decor in contrast? The musical score?

6. The opening with Watson coming from Afghanistan, his war experience, meeting his friend on the street, the accommodation, Holmes and his experiment with whipping the corpse to test blood-flow? Watson settling in, writing the stories, people commenting on their popularity? Mrs Hudson wanting to know why she was not in the stories? Watson and his wife disguised in black in order to see him? At home, the maid and her wondering why she wasn’t in the stories?

7. Holmes, brooding, the drugs? Playing the violin? Feeling that he should go inside himself? Discovering Moriarty, the confrontations with Moriarty, the Reichenbach Falls, Moriarty with the wound of the black blood at the back of his head? The confrontation, Watson shooting him, the fall? As a creation from Holmes’ psyche?

8. The case of the bride, shooting people, killing herself? The reappearance, the death of her husband in Limehouse?

9. Inspector Lestrade, concern, fear, the drink, involving Holmes in the investigation? Going to the morgue, verifying the body?

10. Holmes, his study, solving the case, the explanation of what had happened? The fake suicide, the blood? The corpse of similar appearance, substitution?

11. The country estate, the wife coming for help, the husband, provisions, the seeds in the mail, seeing the bride? Holmes and Watson going to the estate, keeping guard, seeing the bride, the shattered glass?

12. The visit Mycroft, Mark Gattis the fat-suit? Overeating in Pythonesque style? The challenge to his brother, an enemy that had to be submitted to? His engaging Mary Watson to help?

13. The solution, the women and the gathering, and the veils of suffragettes? The bride and her illness, dying as a witness to the cause? The doctor at the morgue – and her disguise?

14. The hypothesis of Holmes going inside his own psyche, the different time movements, solving cases and his obsessions, the role of Moriarty?

15. Moriarty and the anticipation of further cases?

TRAIN TO BUSAN/BUSANHAENG

Korea, 2016, 118 minutes, Colour.
Directed by Sang-ho Yeon.


The title makes it sound like one of those old thrillers, where all kinds of things happen on the trains like that of the Orient express. This train, however, is on a one-hour-long journey from the capital of Korea, Seoul, to the city of Busan. What happens is certainly disaster but not so much in the vein of those old disaster movies.

What distinguishes this film is not that it is a zombie film but that it is a Korean zombie film.

It opens in the familiar way, a truck driver on the highway being stopped by masked military, told that there has been an accident at the local plant, he grumbling about threats to his crops, and then hitting a deer on the road which rises up with zombie eyes.

So, the scene having been set, we are introduced to the characters who will be on the train, most explicitly a father who has his daughter living with him but tends to neglect her, is separated from his wife, is caught up in his job as a fund manager, making some ruthless decisions. Urged by his mother, and it being the little girl’s birthday and his giving her a lavish present which he has given to her on a previous occasion, he decides to take her to see her mother.

At the platform, there is a sports team, there are two elderly sisters, and on the train there is a large worker guarding the toilet for his pregnant wife.

Pretty soon it is clear that the zombie effect is all the rage, zombies on the platform storming the train, causing mayhem – and observers have noted that Koreans, unlike Americans in similar situations, don’t carry guns so combat is either with fists or baseball bats. When the passengers think they have arrived safely at the station, more zombies have taken over and they have to flee back to the train, some in a compartment, some in a toilet who have to be rescued by the father, the worker, a rather wild man who first alerted people to the zombies and one of the sports team – the pregnant wife, the daughter and one of the old ladies are trapped in a toilet.

A lot of the action takes place as the rescuing group tries to get through the zombie-filled compartments, distracting, crawling along the luggage racks and relying on tunnels because zombies cannot see in the dark. There is further complication when a self-centred businessman does not want the rescuers to come in for fear they are infected and, when they do get in, the crowd relegate them to isolation.

The zombie special effects are quite effective, faces infected, angular contortions – and there are a lot of scenes with crowds of zombies, at one stage massing against the glass wall and crashing and falling through, leaping onto trains and, finally, being dragged en masse by an engine through the railyard.

One of the main points is self-sacrifice, exemplified by the little girl but all the men characters, the rescuers, have to face up, and do, to the challenge of saving others through self-sacrifice.

This is certainly one of the better zombie films.

1. The popularity of zombie films? The genre, the now familiar conventions? From American films?

2. A Korean zombie film? Budget, style, the importance of the visuals, the musical score?

3. The locations, the capital, the train, the scenery of the countryside, the cities and destinations? The highways, the train stations and train lines?

4. Audiences identifying with a real situation, passengers taking the train, ordinary people, the reaction to the situation?

5. The opening, the truck driver, his being stopped by military with masks, his comment about his crops and losses, his hitting the deer – and the deer with the zombie eyes?

6. American conventions, using them, variations – especially with the people having no guns, no shooting of zombies? Reliance on physical strength, baseball bats?

7. Introduction to the father and daughter? His hard work, supervising funds, personal ruthlessness, his assistant and the warnings? The daughter living with him, his being too busy for her, the phone calls to her mother, his mother looking after the girl? The mother urging him to take his daughter to see her mother? The gift, elaborate, already having it? The decision to take her? Later phoning and his mother infected?

8. The passengers getting on the train, the team, the young men, the girlfriends? The two elderly sisters? The pregnant woman in the toilet, her worker husband? The businessman? The train staff?

9. The presence of the wild man, getting on the train, his being there throughout the film, his having witnessed people dying – his help and his ultimate self-sacrifice?

10. The theme of self-sacrifice, the little girl and her beliefs, giving her seat up to the old lady, wanting to help? The wild man? The large workingman, the young sportsman and his girlfriend, the father – all learning how to save others and give up on themselves?

11. Alarm, the people on the platform, trying to get on the train, the invasion of the train, the number of zombies?

12. The visuals of the zombies, facial disfigurements, limb contortion? The faces and the infection, the eyes? The groups of zombies jumping onto the train, from the train? The group behind the glass and the falling through it? The heaps of zombies being dragged by the engine?

13. The staff, trying to contain the situation, their becoming victims? The dangers on the train, arriving at the station, everybody getting out, the father and his phone information and trying to go on alternate route, the number of zombies attacking, the dangers, people hurrying back to the train, getting into the different compartments?

14. The group saving themselves in the toilet? The others in the carriage? The men, the clash between the fund manager and the worker, the concern about the daughter, the concern about the pregnant wife? The pregnant wife and her initiatives, strong character? The decision to go through the carriages, the links, binding the arms, the dangers, the timing, the importance of zombies not able to see in the dark, using the tunnels? The rescue, the return? The husband sacrificing himself? The strategies, avoiding noise, crawling along the luggage racks?

15. The group that was in safety, the businessman and his domination, his fears, locking the door and preventing the others returning, the bashing down of the door, the decision to expel the newcomers and isolate them?

16. The older sister, the younger sister, her being infected by what was happening? The younger sister opening the door and letting the zombies in? The mayhem, the businessman and the driver saving themselves, the businessman pushing out the driver, his being infected, the businessman running?

17. Getting into the station, the group trying to get to another train, the driver and his finding another train, avoiding the zombies? The overturned carriages, the fire? The rescue? The pregnant woman and the daughter on the engine? The businessman and the fight with the father, biting him, the father sacrificing himself? His farewell to his daughter?

18. The pregnant woman and the girl, walking to safety, the ruins, through the tunnel, the military seeing them, the decision that they should be shot, hearing the little girl sing – and
their being saved?

19. One of the more entertaining and interesting zombie films?

LIFE ON THE ROAD/ DAVID BRENT: LIFE ON THE ROAD

UK, 2016, 90 minutes, Colour.
Ricky Gervais, Ben Bailey Smith, Tom Bennett.
Directed by Ricky Gervais.

If you are a fan of Ricky Gervais’ very successful British television series, The Office, you would remember immediately that David Brent is the central character. Whether you have been wondering what happened to David Brent after The Office may not be a demanding or immediate question – but here is the answer.

Ricky Gervais has many fans who have enjoyed his television series, The Office as well as the contrived interviews in Extras, and have seen him in many film. He is also compared the Golden Globe Awards several times. One of the difficulties in assessing Ricky Gervais and David Brent is that while David Brent can be stupidity personified, Ricky Gervais has a lot of the appearance and mannerisms of Brent when he compares the Golden Globes. Who is the real Ricky Gervais? Who is the real David Brent?

David Brent has dreamt of being a rock and roll star going out onto a but is somewhat stuck in his Rep job for a laundry products company. We see him on the road, already manifesting quite some insensitivity to those he is dealing with. He is even worse back in the office, most workers cringing in his presence though there is a receptionist who is rather sympathetic, one of the women working there who is a touch in love with him and Nigel, a somewhat idiotic co-worker who plays along with his jokes and performance (and played by Tom Bennett who was the rather simple landowner in Love & Friendship).

The device of the film is a documentary being made about David Brent, his ambitions, his rounding up a rock group, his going on tour – and while they have a lot of footage of him in action, the camera always seems to be around when he is talking off the record, picking up so many of his insensitive remarks and highlighting his complete self-deception.

He imagines himself as a young rock star but he is definitely not, despite his clothes, despite his singing, despite his gyrating while singing, despite his being one of the boys with the band. By and large they find him very difficult and do not communicate with him unless they agree to be paid £25 an hour to sit and have a drink with him. One bright spot in his life is Dom, Ben Bailey Smith, of West Indian background who sings some rap while David Brent is singing, something which he finds often excruciating, but stays pretty loyal to Brent throughout the ill-fated tour. His manager finds him exasperating but relents a little at the end and allows David an indulgence with an absurd song about Christmas and having snow falling during the performance.

David Brent comes from Slough which is filmed and about which there is a song with lyrics representing contemporary Britain and Brits. In the meantime, David is insensitive in his lyrics, a cringe-making song about Native Americans, a song about the disabled and the aforementioned Christmas song about a boy going blind and not able to see Santa!

There are a number of amusing scenes and Ricky Gervais’ fans will be appreciative – for others, it may be a take it or leave it but with admiration for Gervais who can perform this obtuse character but is skilful enough in writing the obtuse character with clever insights.

1. A Ricky Gervais film? Writer, director, singing, star?

2. David Brent as a character, as the key character in TV’s The Office? Several years later, his life as a Rep? His dreams, rock ‘n’ roll star, touring? In reality, David Brent’s age, loner, his job, self-image, self-deception? His insensitivities, racial, to the disabled, women? Touches of stupidity? The jokes in the office, the staff reactions? The band and their not liking him? Failure of audience response?

3. The making of the documentary, David Brent talking to camera? Their catching him talking privately and the revelations?

4. Slough, its look, the song and its lyrics, symbolic of England? The comment on contemporary Britain and the British?

5. Brent at work, the Rep, the range of clients, his interactions with them, insensitive? The reaction of his bosses, the other members of the staff, laughing at him, Nigel and his support, Pauline and her defence of him? The Indian receptionist?

6. The band, Foregone Conclusion, the manager, the musicians, the importance of Dom, friendship, standing by David, singing the rap, his reactions, advice?

7. The audience, the clubs, moving in and out? Lack of response to Brent? Response to Dom?

8. David Brent, his mannerisms, his giggle, his wheeze, clothes, gyrating while singing, dancing, his wisecracks,

9. Lyrics of songs, e.g. the Native Americans, the Disabled, the Christmas song – and the falling of the snow?

10. The character of Dom, his comments, race background, rap, onstage with David, sharing with him, the link with the band, the drinks night, his being dressed up as the Native American and not going on? The approach by the talent scouts? His recording?

11. David, the attempts to be with women, two large women and picking them up, eating him out of house and home, staying the night, his denials?

12. The battle of the bands, singing first, the song, Dom and his rap?

13. The manager, patience with David, not liking him, something of a change of heart, the important talk, and his paying for the snow?

14. David back to the office, being laughed at, Nigel and his support, the receptionist saying nice things about him, Pauline throwing the water at the main critic, going out to coffee with him?

BEN HUR

US, 2016, 123 minutes, Colour.
Jack Huston, Toby Kebble, Rodrigo Santoro, Nazanin Boniadi, Ayelet Zurer, Pilou Asbaek, Sofia Black- D'Elia, Moises Arias, James Cosmo, Morgan Freeman.
Directed by Timur Bekmambetov.

A production team would have to feel very self-confident in taking on a remake of Ben Hur. The immediate comparison is the 1959 version, directed by William Wyler, starring a rather iconic Charlton Heston (who had already impressed as Moses in The 10 Commandments), winner of 11 Academy Awards, running for over three hours… This version was itself a remake of a 1925 epic, chariot race, Jesus scenes and all but able to be superseded in the 1950s by sound and colour. (For those who subscribe to Foxtel, the TCM channel regularly screens both versions.)

Unfortunately, this version has not found favour with film critics which seems to have had some dire effects on its box office success. A pity because many audiences would enjoy it, not as much as the 1959 version, but many interesting aspects nonetheless.

A major difference is that the daring Russian director, Timur Bekmambetov (action films like Wanted) has opted for a spectacular film. This makes us realise that the aims of the 1959 version were to make an Epic. if so, this version is spectacular but not epic.

For a Christian audience, the 1959 version kept the subtitle from General Lew Wallace’s novel, “A Tale of the Christ”. This film omits that subtitle. Nevertheless, there are a few more sequences with Jesus in this version than in the previous film, some original version, the two water scenes a variation on what appeared in 1959. That version had the advantage – or disadvantage – of the times, permitting the audience to see only Jesus’ arm, Jesus’ hand giving the water, or Jesus filmed from behind staring at the Centurion. This time, a recognisable actor appears as Jesus who also speaks. He is played by Brazilian actor, Rodrigo Santoro. He is a strong presence, tall, seen working as a carpenter, but not as intrinsically empathetic as one might like, rather stern and serious.

Jesus is first seen in Jerusalem, working as a carpenter, speaking about love and forgiveness to Ben Hur and Esther.He makes an impact on Esther who becomes a disciple.He is also seen rescuing a man who is being stoned, covering the man with his body and being pelted with stones himself. There is an arrest in the garden of Gethsemane with Peter wielding his sword. in the 1959 version, Jesus gives water to Ben Hur during his march through Nazareth with Ben Hur reciprocating during the Way of the Cross, recognising Jesus as he did so. This time, the action is in Jerusalem, Ben Hur arrested, being marched through the streets with a wooden yolk on his neck, falling and Jesus, defying the soldiers, giving him water. When Jesus is making his way to Calvary, the cross on his back, Ben Hur recognises him and gives him the water. There is also a crucifixion scene with Jesus speaking out his forgiveness, followed by rain, Ben Hur kneeling and praying, his mother and sister healed of their leprosy this moment.

But, of course, the popular audience has gone to see the action spectacle, opening with a glimpse of the final chariot race and the antagonism between Judah Ben Hur and Massala, his adopted brother, and flashbacks to their riding through the desert, Judah having an accident, thrown from his horse, and Massala carrying him home. Actually, the scenes in Jerusalem itself quite interesting, establishing the family as well has the activities of the zealots. Massala, attracted to Judah’s sister but disliked by her mother, goes off to war in Germany and, in Persia, encountering Pontius Pilate who then is his patron when he returns to Jerusalem.

The incident which leads to Judah’s imprisonment and the capture of his mother and sister is not the dropping of a stone accidentally but a separate firing an arrow at Pontius Pilate.

The galley scenes are quite powerful, the slavery for five years, as well as the naval battles and the ramming of the ship, Judah getting loose, surviving on planks and washed ashore.

Those expecting the story of the Roman commander, Arius, will be disappointed as he is omitted as is Judah’s time in Rome. He is immediately rescued by the African horse and chariot dealer, Ilderim (Morgan Freeman and his powerful voice – though some of the dialogue has the touch of lameness and Freeman himself says twice okay, okay.)

This means that Ilderim and Judah go straight to Jerusalem, with a build up to the chariot race – which, is on a par with the previous versions, 10 minutes of visual excitement.

There is more than a touch of unexpected sentiment at the end – hope rather than grimness or despair.

Apart from Morgan Freeman, the cast is not well-known and Jack Huston does not try to vie with Charlton Heston but makes a sufficiently strong screen presence for this version as does Toby Kebbel as Massala.

Older audiences may still pine for Charlton Heston although the film has been readily available for all for over 50 years. Younger audiences may not have this particular background and be interested in this version for itself.

1. The popularity of the 1959 classic film? Other versions? The significance of the novel? The Roman Empire, Judaea, a Tale of the Christ?

2. The impact of the version of the 20s, its continued availability? 1959, the epic status, the Oscars? The animated versions?

3. The issue of a remake, older audiences and their memories and comparisons, new audiences and their awareness of 1959 or not?

4. The Russian director, his action films, the emphasis on spectacle? His treatment of the Christ story and incorporation into the action?

5. The locations, Italian location photography, Palestine, Jerusalem, the desert and countryside? The sea and the galleys? Rome, slave and free? The training for the chariot races, the coast and the horses, the African caravan? The chariot race? The musical score?

6. A tale of the Christ, Rodrigo Santoro as Jesus? The scene of the carpentry, his words about forgiveness, his being stoned and saving the man being stoned, giving Ben Hur the water, the reversal and Ben Hur giving him the water? The arrest? The crucifixion and his forgiveness?

7. The cast, the central character’s not being well known name figures?

8. The stunts, the special effects, the galleys, the sea battles, the chariot race?

9. The introduction to the tale, Ben Hur and Massala riding, the horses? The family, patrician, Ben Hur and Massala as brothers, his being a Roman? Contrast with the Jewish household? The statue and praying to his gods? Massala and his love for Thirsa? Esther and her father, servants in the house, the celebrations?

10. The opening, the riding, the chariot race, talk of death? The flashbacks, Judah hurt in the accident, falling from his horse, Massala carrying him home? The mother and her dislike of Massala, protective of Thirsa? His leaving, going to the military, Judah his reaction, the fighting scenes in Germany, in Persia, the encounter with Pontius Pilate?

11. Massala returning to Jerusalem, the friendship of Pontius Pilate? The commander, his hostility to Massala? His position, reuniting with the family? His urging Judah to expose the zealots?

12. Dismas, the zealots, Thirsa shielding them, Judah healing him, his hiding – but his firing the arrow at Pontius Pilate?

13. Pontius Pilate, the entry, the arrow, going into the house, killing the servant, tying the family up, Judah confessing to save his family, holding the centurion with the knife (and this man later leading Judah to his mother and sister), his being condemned, Massala and his stance?

14. The insertion of the Jesus story, carpentry, forgiveness, the water, stopping the stoning, the arrest, Peter and his sword in Gethsemane, the way of the cross and Ben Hur and the water, on the cross, forgiveness, the rain? Judah praying and the healing of his family?

15. Judah condemned to the galley, the vivid scenes of the slaves, rowing, chained, five years, the battles, the ramming of the ship, Judah and his escape, in the water, floating, on land?

16. Ilderim, saving Judah, his African background, caravans, his wealth, appearance, Ilderim and his manner and speech? Judah and the horse, healing it, the nature of the cure? His training the horses, the horses bolting with the charioteer? Ilderim and his support? The decision to go to Jerusalem?

17. The return, visiting Esther, her warning about Massala, the decision to confront him? His being taken to his mother and sister? The riding, the training, the various hints for strategies during the chariot race?

18. Ilderim going to Pontius Pilate, the discussion, the bet?

19. The chariot race, the various competitors, the race. The special effects, editing? The destruction of chariots, the deaths of the riders, the horses? Judah holding back, Massala and his arrogance, whipping? His crash and being injured? Judah falling off the chariot, being dragged, winning? The reaction of the crowd, supporting him? The stance of Pontius Pilate?

20. The mother and daughter healed, Judah and Massala, Massala and his injuries, the reconciliation, brothers? The riding together – and Ilderim urging them to their life ahead?

PUBLIC ENEMIES

US, 2009, 140 minutes, Colour.
Johnny Depp, Christian Bale, Marion Cotillard, Jason Clarke, Stephen Graham, David Wenham, Stephen Dorff, Cary Mulligan, James Russo, Giovanni Rubisi, Stephen Lang, Channing Tatum, rory Cochrane, Branka Katic, Billy Crudup, Shawn Hartosy, Lili Taylor.
Directed by Michael Mann.

There is a tradition of wildness, even of savagery, in US history. Wars, the west, mobs and crime... And these savage societies have been dramatised and explored in films for a hundred years. A question often arose as to whether the movies glamourised criminals and violence. This was a concern in the 1930s with Scarface, Little Caesar, Public Enemy and other films about Al Capone and contemporary gangsters. Towards the end of the 1940s, writers and studios realised that so many westerns had demonised the native American Indians and began to portray more sympathetic portraits. War in the movies has been patriotised as well as being made to serve as a critique of the conduct of some wars. In recent years a spate of films about the war in Iraq have not been popular box-office draws despite the topicality of the films. Which means, perhaps, that films reflect society more than influence it.

All this is a prelude to a review of Michael Mann's latest film. Mann has been interested in a range of topics for his films, from Manhunter (the first of the Hannibal Lecter films, with Brian Cox) to his biography of Muhammed Ali, Ali, with Will Smith, from The Last of the Mohicans to his thriller, Collateral. And, of course, Miami Vice.

Mann now gives his full attention to the Depression era, recreating it with impressive detail, even a gritty epic style with a solemn orchestrated score and those creations of the Depression, the bank-robbing petty gangsters. Both Pretty Boy Floyd and Baby Face Nelson appear in this film as does Chicago enforcer, Frank Nitti. But the focus is on Public Enemy Number One, the robber John Dillinger. He has been played by many actors like Lawrence Tierney, Ralph Meeker, Warren Oates, Mark Harmon in films about himself as well as appearing as a supporting character in films about Nelson and Floyd and about the exploits of the G-Men? and Melvin Purvis. For film fans he is not an unknown personality.

Now he is Johnny Depp. Does having Depp play him glamourise him or his memory? Obviously, Dilligner had to have had charm to have influenced the people he did, to work on prison escapes with which the film opens as well as the robberies – and Depp displays the charm. However, Dillinger was also ruthless and a murderer and Depp is given plenty to do to reinforce this aspect of his character – as well as his being gunned down after seeing the 1934 gangster film with Clark Gable, Manhattan Melodrama.

On the side of the law is the famous G-Man?, Melvin Purvis. He is played by Christian Bale in another square-jawed performance, struggling to use his skills with often poorly trained agents. The screenplay gives quite a deal of attention to the workings of the newly instituted Federal Bureau of Investigation with a strong cameo performance by Billy Crudup as J. Edgar Hoover, forcing his ideas on his agents and on government (though not well heard by a senate hearing). Stephen Lang stands out as a veteran and shrewd agent.

The other star is Marion Cotillard after her Oscar-winning performance as Edith Piaf. She is good as the coat-check girl who seems to bewitch Dillinger but who has a mind of her own, willing to be violently treated by the FBI interrogators and to go to prison for him.

Some of the distinguished cast have very little screen time, David Wenham, Stephen Dorff, Giovanni Ribisi, Lelee Sobieski.

What Mann has done with his sweeping style and his cast is to immerse his audience in the era and offer them different perspectives on these, at the time, popular criminal figures.

1. Memories of the 1930s, the gangsters the role and the media publicity during the Depression, the ethos, the bank robberies, the role of the law, the FBI, the G men?

2. The presentation of the outlaws on screen – as villains, as heroes? The issue of glorifying them?

3. The director, his films, the focus on crime, reconstruction of a period?

4. Strong cast, Johnny Depp as John Dillinger, Christian Bale as Melvin Purvis? The strong supporting cast? A range of characters – but little background development?

5. The focus on Dillinger, Johnny Depp’s presence, Dillinger’s reputation, his living in the moment, his motivation for the robberies, his friends and collaborators, his taunting authorities? Alvin Karpis and the friends advising him about robberies? The domestic sequences? His base? In prison, freed? Going underground? Tactics of the gang freeing him? Relaxing after the event? The range of contemporary criminals, known to the public, glimpses rather than characters? His relationships? The encounter with Billie, not knowing who he was, falling in love, Bye, Bye, Blackbird? Their time together? Socialising, the clubs, at home?

6. Christian Bale as Melvin Purvis, the serious G-man, with J. Edgar Hoover, the organisation, Winstead and the other agents, their working with him, the training, seeing them in action, failures and successes?

7. Hoover, in himself, at the Senate hearing, asked whether he had arrested anyone personally? His role, ambition, the organisation of the FBI, the use of the G men?

8. The women in Chicago, the migrants, the pimps, prostitution? Anna Sage, the younger women? Life with Dillinger? Susceptible to the G men and their threats? Purvis threatening And her with deportation, her agreement, the set up, the younger girl and going to the movie?

9. Billie, background, meeting Dillinger, not knowing who he was, falling in love with him? The arrest, the interrogation, the bullying policeman and his slapping her – and his being reprimanded? Her endurance, her love, the news of Dillinger’s death, Winstead coming to see her, the final message of Bye, Bye, Blackbird?

10. Scenes of crime, the banks, the plans, those collaborating, the managers, customers, the robberies, the shootings, the daring, the amount of cash?

11. The focus on going to see Manhattan Melodrama, the extensive use of the scenes in this film? Dillinger, going to watch? Clark Gable’s character, a gangster in film – and Dillinger later the central character in so many films?

12. The plan, the preparation, Winstead and his knowing where Dillinger would go, Purvis and the group on surveillance, the girl on the street, watching for Dillinger, the end, lighting the cigar, the pursuit in the street, the shooting, his last words, his death?

13. The reconstruction of an era? Figures in American history for good or for ill?

KUBO AND THE TWO STRINGS

US, 2016, 102 minutes, Colour.
Voices of: Charlize Theron, Matthew Mc Conaughey, Brenda Vaccaro, Art Parkinson, Rooney Mara, Ralph Fiennes, George Takei, Cary- Hiroyuki Tagawa.
Directed by Travis Knight.
Kubo and the Two Strings is an entertaining animated feature which should appeal to younger audiences as well as families.

It is not surprising to see a Japanese story and animation these days with so many films coming from Japan itself and, especially, the Ghibli Studios. But, this is an American production, writers and director as well as voice cast.

The filmmakers show great sensitivity towards Japan as well sensibility about its characters, history, culture, mythmaking, rituals as well as the beauty of its locations.

During the final credits, there is a focus on the making of the puppets, especially the Cockroach, which are used in the film – an insight into the type of animation that is present. The landscapes are quite vivid, the characters well drawn, there is a great deal of action and special effects.

The film opens with Kubo and his mother caught up in a huge storm at sea but finally landing on the beach and becoming resident on high rock above the village. Kubo is active but his mother has long periods of distraction, not being aware of where she is, but at night, cautioning Kubo not to stay out after dusk. In the meantime, he goes down into the village, well-received, with his strings, plucking them and narrating heroic stories. He also has an extraordinary origami talent, creating creatures, especially a small origami warrior, and many others in action.

One afternoon, he follows the crowd to a cemetery, sees a girl invoking her grandmother and decides to pray and call on his father – to no avail. But he is caught in the cemetery after dark and suddenly dark and sinister creatures swoop down on him and the village, two sisters, his aunts who are vengeful about their other sister, his mother, who set out on a quest to destroy a Lord but fell in love with him, married him and had Kubo. The father, the Moon King, has urged them to seek out this sister, Kubo and destroy them.

What follows are adventures at sea, in an origami boat, with a warrior beetle turning up, a bit slow on the uptake but genial, who protects Kubo and his mother who has been transformed magically into the form of a monkey toy that the boy had. Once again there are storms, with the Cockroach, Kubo diving into the sea to find a suit of armour, the Beetle having to rescue him, their arriving on land and, of course, a final battle confrontation with the Moon King who can transform himself into a dragon and the avenging sisters.

The characters are much more interesting than in many an American animation film and there is plenty of good dialogue and, certainly, plenty of action sequences.

Art Parkinson voices Kubo while Charlize Theron is his mother. Rooney Mara voices the sisters and Ralph Fiennes their father. But, many times, Matthew Mc Conaughey steals the show as the Beetle.

1. An entertaining story? Creative animation? The Japanese setting, characters, sensibility – from an American perspective? Japanese action and traditions?

2. The American makers, open to Japanese sensibilities and stories, creating the characters, the dialogue, the interactions? Using Japanese legends and customs?

3. The animation, the puppets – the final credits indicating the making of the puppets? Settings, action, the effects, especially the origami creations and beyond? The music, the chords, the visualising of the stories?

4. The voice cast, an American production?

5. The opening, the sea, the mother and son, the high waves, the voice-over telling the story, listeners being attentive? Arrival on land, their dwelling on the high rock, the house, the sad mother, and not being present in mind? Kubo, his care, looking at the village, going down, telling his stories, the encouragement from the old lady, the various members of the audience? His not to be out after dusk, the threat of destruction? His not finishing the stories? The origami, creating the warrior, the duck, special effects, action? The repetition of the stories? His mother’s evening consciousness, her warnings?

6. The old lady, the fireworks, going to the cemetery, the child wanting to communicate with her grandmother, Kubo praying, not getting an answer, the dark coming down? The arrival of the vengeful sisters, the darkness and cloud, the dust, overwhelming, destroying the village and the people? Kubo’s mother, exercising her magic – and enlivening his toy monkey?

7. The warrior coming alive, the Beetle, his character, human, slow-witted, with the origami warrior?

8. The action, cockroach, the fights, destruction?

9. The monkey, his mother, her care, his making the boat, on the sea, the storm, destruction?

10. The two sisters, their story, their relationship with the mother as there are other sister, her mission from her father to destroy the warrior, falling in love, changing? The birth of her son?
The family anger, the quest against them? The death of her husband?

11. Undersea, the restoration of the boat, finding the suit and Kubo putting it on? The danger in the sea, Kubo mesmerised by the eyes, the Beetle diving and saving him?

12. On land, the helmet, the drawing about the action? His mother and father? The moon grandfather, the sisters? The battles, the old king turning into a dragon, the swordplay, destruction?

13. The reconciliation, the people from the village, Kubo and his mother and father, the happy ending?

NERVE

US, 2016, 96 minutes, Colour.
Emma Roberts, Dave Franco, Emily Mead, Miles Heizer, Juliette Lewis.
Directed by Henry Joost and Ariel Schulman.

Sounds as if it is a horror thriller, geared for people leaping from their seats. Not at all. Not at all for the audience, even though some of the characters have to go through some nerve-racking experiences of the “we dare you” variety.

This is definitely a film for younger audiences, practically all of the characters 20 plus or minus and really only Juliette Lewis as Emma Roberts’ mother (reminding older audiences that that is life, actresses who used to be teenagers now portraying mothers) in an older age bracket. This is also a film for audiences who like computer games – except this is a game in real life, played on the streets of New York (or on cranes or scaffolding high above the city streets) watched by an extraordinarily big following on their phones, computers or large screens.

Audiences are meant to identify with Emma Roberts’ Vee (Venus), quite a controlled young woman who tags along with the much more extroverted Sydney (Emily Meade) an ambitious fan of the game Nerve where dares come from a central IT company and people can join up to be watchers or doers. Sydney is a doer – and when the d is successfully accomplished, substantial winnings are transferred to bank accounts. With an ever-growing audience of watchers, there is extraordinary peer pressure to undergo the dare, which Sydney discovers, trying to cross a data over the span between buildings many storeys high.

It is that peer pressure as well as her image of herself that propels Vee to commit herself – to kiss a stranger in a public place. She does and it wasn’t so bad and then she finds the stranger, Ian, Dave Franco, is also a participant in Nerve and off they go to be a team, starting with Vee going into a fashionable store to try on a dress which costs almost $4000.

And on it goes, with ever more difficult dares, including Ian having to ride his motorbike through the New York streets getting up to 60 miles an hour, blindfolded. Vee steers him through this ordeal and on they go, the bank transfers for the dares accomplished going higher and higher. This puzzles Vee’s mother, a hard-working nurse in hospital.

One of the images that might go through an audience’s mind in watching the ever-increasing danger of the dares as well , as the increasing number of watchers is that of Roman Empire times, gladiatorial combats, the same crowd-think, urging each other on as well as the combatants. And, in the social media age, cameras are continually on the dares, invalid without their being photographed, but also the most private of conversations between contestants being overheard by thousands, Vee unwittingly making judgement or comments about Sydney which she and all her friends listen into.

Not everyone is happy with Nerve and as the pressure increases, into a literal contemporary gladiatorial arena with guns drawn, the danger and illegality come to the fore, watchers being accused of participating and as accessories to murder.

So, by the end, this is a morality play, critical of young people and their succumbing to peer pressure, the low self-image and capacity for making decisions that means they go along with the dares despite the dangers and irresponsibility, and age of social media, it is very easy to be swept along with the excitement without giving much or any thought to personal or social consequences.

1. Title? Location? Computer game? Game performed in public? Watchers? Doers? The dares, the financial rewards?

2. New York City, homes, hospitals, the streets, cafes, buildings and interiors, crowds in public places, motorbike speeding along the road, ladders between buildings, the final gladiatorial scene? The musical score?

3. The reality about this kind of game? The phenomenon of Pokémon Go? Thousands of people involved? The repercussions for the doers, for the watchers?

4. A morality tale about peer pressure, self-image, being goaded to decisions, personal consequences, social consequences? The ultimate accusation that the watchers were accessories to murder?

5. Vee, her story, age, at home, relationship with her mother, her friendship with Sydney, the other friends, the peer group, being together, Sydney and her dominance? The education background?

6. Sydney, extroverted, performance, leadership, her friends? Thinking that Vee was repressed? The game, the possibility of watching or doing, Sydney and her dare? The effect on Vee, moving away?

7. Sydney daring Vee, her friend Tommy, his not approving of Nerve, supporting her, going to the cafe? The decision to dare? Her having to kiss the young man in public, wary, going up, the discussion about Virginia Woolf, To the Lighthouse, her favourite novel, kissing him? The reaction? His coming to her? His death and playing the game?

8. The next dare, her acceptance, going to the shop, the image of the dress, the high cost, trying it on, Ian arriving, the clothes disappearing, his helping her, the dare to escape the shop in their underwear?

9. The dare about tattoos and Ian deciding on a lighthouse for Vee?

10. The decision to keep going? The different motivations? The crowd watching? The motorbike, 60 miles an hour, blindfold, the Steering? The exhilaration?

11. The various teams, the scores for the couples displayed on the grid? The gradual eliminations? The watchers, their affirmation of the dares?

12. Sydney, her friends, upset with Vee Her accepting the dare on the ladder, the danger, the collapse, failing?

13. Ian and Vee, with their friends, having to finish Sydney’s dare and crossing on the ladder?

14. Ian, his background, the previous competition in Seattle, his rival? The flashback to the boy on the scaffolding and his fall? The rival and his determination to win? Lying on the railway tracks and the train going over him?

15. The increasing amount of money being offered? The suspicions of Vee’s mother?

16. Ian’s explanations, the fact that they should be in the final, his going up the building, hanging by one hand?

17. Everybody gathering in the arena, the overtones of the Roman amphitheatre, gladiatorial combat?

18. The mother, the puzzle about the money, the hospital, a growing concern? The contact with Tommy? Going to the computer centre?

19. Sydney, Tommy, their friends, the computer experts, their infiltrating the Nerve centre, sending out the message to the watchers about being accomplices, their being able to close down the game? (And restore the bank account?)

20. The showdown, the guns drawn, the challenge to shoot Vee, her collapse, the issue of the blanks, the rival and his apology, hurrying away? Ian, his real name, the bond with Vee?

21. A morality tale for the younger audiences?

BLOOD FATHER

US, 2015, 88 minutes, Colour.
Mel Gibson, Erin Moriarty, Diego Luna, William H. Macy, Miguel Sandoval, Michael Parks.
Directed by Jean- François Richet.

Mel Gibson has been through very hard times in the last decade, personal crises, anger outbursts and prejudice, alcoholism, damaged relationships. And, he has been off the screen for most of the decade and has not directed a film since Apocalypto (2007). So, the question has arisen, at age 60 is his career over? In 2016, not so. He is starring in the thriller, Blood Father, and he has directed her a high profile war film, Hacksaw Ridge.

In many ways this is a routine action show, high octane, as they say – and it does involve cars and motorbikes.

The villains in the film are bikies and the tough enforcers of the Mexican drug cartels. covered in tattoos – handy for Link, Gibson, who has spent years with the bikes, nine years in jail, has learned and practices the tattooist trade and is able to recognise the meanings in tattoo designs and so assess the muscle that is pursuing.

His teenage daughter, who has not lived with him but with her wealthy mother, has disappeared for four years. She is seen teamed up with one of the cartel bosses, in love with him, pressurised to take part in violent raids with him, literally coked up. When he wants her to shoot someone and she finds she can’t, despite the drugs, her gun goes off with her boyfriend becoming the target.She decides to go on the run but also to phone her father who lives in a caravan out in the desert, going to AA programs, tattooing with a good supportive friend, William H. Macy, as his sponsor.

The film runs for under an hour and a half so the action tends to move, the daughter coming home, thugs tracking her down, gunshots, the overturning of the caravan, father and daughter hot footing it from the trailer camp, finding out what is happening – and Link still has some contacts in prison who enable him to get the background of his daughter’s boyfriend, and the increasing dangers they are in.

Link decides to call on an old friend about whom he was silent in his years in prison and believes he can ask favours. He is an old bar bikie, with Vietnam memories, played intensely and strangely by Michael Parks.

While the setting is California, the film was made in New Mexico with good desert and mountain location photography, just the place for a showdown, the cartel thugs presuming they are supreme and certainly underestimating Link and his shrewdness and ingenuity.

So, daughter in peril, contact with father, father helping daughter, both on the run, problem solved, but not without a great deal of pathos.

The film was directed by Jean- François Richet, best known for his double French film series, Mesrine, the story of a celebrated French criminal played by Vincent Casell and the remake of John Carpenter’s Assault on Precinct 13.

1. A basic action story? Father saving daughter? Daughter in peril, the father in peril, criminal pursuit? Fights?

2. The title, the relationship between father and daughter, blood relationship but alienation, the daughter living with her mother, running away, turning to her father after many years? The father communicating again with his daughter, their sharing the experiences, the final reconciliation?

3. The New Mexico landscapes, the California setting, the caravan park, the towns, the desert, the hideaways?

4. The musical score?

5. Lydia, her age, with Jonah, the relationship, his power over her, the raid on the house, the violence with the guns, Jonah giving her the drugs, wanting her to shoot the woman, her fears, the gun going off, Jonah being wounded, her thinking he was dead? Escaping from his associates? Her telephoning her father, the years of no contact with him, asking for his help, to escape?

6. Link, Mel Gibson character, age, result, the beard, the facial lines? Seeing him first at the AA meeting, his talking about himself and his failures in life, character, drinking, prison? Receiving the phone call, promising the money, driving to meet his daughter, picking her up, taking her to the caravan? His reliance on Kirby, Kirby as his sponsor, in the adjacent trailer, their banter together, good friendship?

7. Lydia, exhausted, not telling her father all the truth? The attack by the thugs, the shooting, the crash into the caravan, Kirby and his friends warning them off?

8. Link, the decision to leave, the broken down car, starting at the last minute, evading the police? The two going on the run, driving through the desert, the phone calls to Kirby, the motel, the young man being helpful, the television news, the posters, the car and his helping them to escape? The arrival of the cartel hitman and his shooting the police, shooting at the car?

9. Link and his decision to contact his prisoner friend, asking for the information? Later shaving off his beard, the visit to the prison in his suit, getting the information, knowing all about Jonah, the cartel, relationships, his skimming the money, using Lydia?

10. Travelling to see Preacher, memories of the past, Parks as a father-figure, Link going to jail and not revealing the truth about him? The woman, tough, the gun? Preacher and his dealing with souvenirs, especially neo-Nazi memorabilia? As a cover? His talking with Link, his antagonism towards Lydia, knowing her from the past, knowing about her being with her rich mother, his criticisms of her as being spoilt? The gun, Link getting the gun, their escape, on Link’s old motorbike, the pursuit of the bikers, the shootings and crash? Link later returning,
confronted by Preacher, Link shooting him, taking the grenades?

11. The thugs and Jonah capturing Kirby, interrogating him, the car, shooting him? Taking Lydia? The phone calls, the rendezvous, Link and his riding through the desert, leaving the bike, Lydia and Jonah and the group in the car, the men going down to the bike, its exploding? The shooting of the sniper and his death? The fighting the car, Jonah shooting, Link killing the man, Lydia and Link escaping?

12. The pathos of Link being wounded, his final words, the reconciliation with his daughter?

13. A year later, Lydia at the AA meeting, turning her life around? The prison sequence, Jonah in jail, Link’s contact and their converging on Jonah?

14. A regular kind of peril, danger, inventions, violence drama?

THE MIGHTY MACS

The Mighty Macs, made in 2009, is an entertaining throwback sports film, women’s basketball at a small Catholic college run by nuns. Based on a true story, it is designed as an inspirational film, especially for women and women in sport. Because we have a Catholic college having financial and survival problems in 1971, there is a priest character. He is in the old vein and is credited as ‘Monsignor’. We see him at Mass but his main appearances are at the Board meetings where decisions are being made about the sale of the college. He has an Irish accent (and is played by actor-author, Malachy McCourt), a touch of the bumptious, presuming on his priestly authority. He does make remarks about sport as important and other school activities but then emphasises that this is part of church business. Barry Fitzgerald would be proud of him.

The action takes place in 1971, almost forty years earlier, but only thirty years on from such inspirational sports films like Knute Rockne and Pat O’Brien’s? exhorting his players, ‘Do it for the Gipper’.


The Mighty Macs are the women’s basketball team at Immaculata College. At the beginning of the film they are far from mighty. The College is nearing bankruptcy and could be sold. In comes Cathy Rush, played sympathetically and vigorously by Carla Gugino. She shows how a female coach can be attentive to her players’ needs as well as have exhortations and strategies. And, she coaches them to victory in the national competition in 1971, 1972, 1973. Many of her team were consequently very successful coaches.


Immaculata College is run by Sisters (and the credits thank the Sister Servants of the Immaculate Heart of Mary). By 2010 nuns had been disappearing from the screens (or being part of crowd scenes at, for instance, airports). There is an enthusiasm in the writing and direction of Tim Chambers. But, we are back in The Bells of St Mary’s territory and tone. Ellen Burstyn is the superior, very anxious about the financial situation, who hires Cathy Rush but cannot support her financially.

But, there are lots of nuns in the community, bright and breezy types who twenty years later would be right at home in Sister Act. They turn up at matches and make great supporters (some of them being listed in the credits as cheerleader nuns!).

While Mother Superior is something of what the stereotypical movie nun used to be, the nun in main focus is Sister Sunday, played by Marley Shelton. She is not unlike Amy Adams’ Sister in Doubt. She does have doubts about her own vocation, feeling frustrated in doing filing work in the college. Should she have time off? She doesn’t get much guidance or personal feeling from the Superior. As she prays in the chapel for a sign, she hears the coach’s whistle and finds a place with the team, coaching, managing, relating well to the girls and finding her place in life.

One of the most interesting sequences is her discussion with Cathy about her life (and learning that Cathy is not Catholic but Baptist). She explains her work, her boyfriend, but also her sense of emptiness, giving up her job and following her call. It is the support and understanding of Cathy that has enabled her to reassurance in her way of life. But, in the spirit of questioning of the 21st century (and, of course, of the 20th century), there is a sequence where Cathy and Sister go for a drink in a bar where she has removed her veil. She shows a strong-minded sense of fun as she wards off a would-be admirer who pays for drinks and would like to dance. In a complementary scene, Cathy dresses in a nun’s habit because the airways company was offering free travel for nuns.

This is a genial film which reminds us of the stern past in convents, the rigorous routines, the business concerns but also the sense of joy which nuns could radiate.