LIFE, ANIMATED

US, 2016, 89 minutes, Colour.
Directed by Roger Ross Williams.

In this title, the word “animated” has two different meanings, both of them very positive.

The immediate impact of the word is that this is a film about life, liveliness, life that is full of spirit. And this is true. However, the word has more meaning in connection with movie animation, with some designed especially for illustrating the central character in this film and his experiences, but with a greater emphasis on Disney films, the classic Disney films.

This is a documentary about Owen Suskind, whom we see at the beginning of the film as a 23-year-old preparing for his graduation. We soon realise that this is not an ordinary graduation. The program is for young adults with psychological and behavioural difficulties. Owen is autistic. As the audience accompanies Owen and his family on his life journey so far, there is a moving opportunity to understand and to appreciate something of autism and means of coping.

There are home movies of Owen as a little boy, enjoying life until, at the age of three, something happens inside him, an inability to talk properly, uttering jumbles of sounds, and unable to walk with a normal gait. Fortunately, he has a very loving and devoted parents, his father a journalist with the Wall Street Journal and his mother, working at home, continually loving and supportive. He has an older brother Walter, who is lovingly concerned about his brother.There are visits to doctors, therapists, prescriptions for medication…

Some transformation happens in the parents’ ability to help their son when Owen is able to articulate a phrase which they recognise from Disney’s The Little Mermaid. Owen watches the Disney movies, is able to identify with the characters, especially emotionally, has a capacity for memorising and quoting the dialogue, the films and the characters thus becoming norms for his understanding of human nature and behaviour.

One of the features of the film is the highlighting of particular scenes from the animated films, with Owen identifying as Peter Pan, identifying when packing to leave home with Dumbo, Bambi and the death of his mother, many sequences and characters of the Little Mermaid and a climax with The Lion King.

Back to his graduation, his fondness for one of his fellow students Emily and the shock of her not wanting to continue the relationship, his wise mother explaining carefully the ups and downs of life and the need to cope. He settles into his own apartment, sometimes very able in what he can do, at other times needing assistance and guidance from helpers in this supervised accommodation. And, interestingly, he gets an invitation to go to a conference in France to speak about his own situation, especially the bond with the animated films. He gives his speech, brief, but quite an achievement.

There have been a number of films, and we remember Rain Man from almost 30 years ago, about people with autism – another inspiring film is the real-life story of a young woman, Temple Grandin.

1. The impact of the film? Humane? Autism? The particular focus on Owen Suskind? A close-up look? Observation and reflection?

2. A moving documentary, detailed following of the family, of Owen and his experiences, enabling the audience to observe and think? The title, Disney animation and its impact? The
particular animation about Owen and his experiences for this film?

3. The world of Disney, the range of Disney animated films, in the past, like Peter Pan, Dumbo, Bambi? More recent times like The Little Mermaid, Aladdin, Beauty and the Beast, The Lion King?

4. The introduction, Owen, age 23, classes, the prospect of graduation, his condition, personality, relationship with his family, with Emily, with the teachers and carers?

5. The background of his family, Ron as a Wall Street journalist, his mother working at home? Walter as his older brother? The initial happy family life, the home movies?

6. Owen at age three, the sudden regression, the garbled talk, the awkward walking? The consultation with psychologists and therapists? The pervasive deterioration? Medication? Questions about intellectual ability, articulation? Sounds and words? His interior life, relationships?

7. Growing up, his childhood, adolescence, the therapies? Medication? The continued devotion of his parents? Walter and his concern, support, worry about Owen’s future?

8. The animation, and connecting with the characters, their emotions, their interactions, a way of interpreting reality? His enjoying the films, understanding them, entering into their world and their security? His collection of videos?

9. The range of Disney, the posters, The Little Mermaid, the nature of the excerpts, the relationship to his experience, for example Dumbo and packing, Bambi and his mother dying, Owen as a Peter Pan, his playing Peter Pan as a game? The importance of The Little Mermaid? The threats, the friend? Be a Guest? The climax in the Lion King?

10. The special animation for the film, its visual style, the characterisation of Owen, helping the audience to appreciate Owen through the images, his story, his experience, the equivalents – and the Disney characters appearing in this animation?

11. The important characterisation of his family, his father, in the home videos, over the years, sympathetic and affectionate? His mother, loving, present, wise, her advice? Walter, older, his own life, but his concern for Owen, listening to him, advising him?

12. His graduation, happy, the relationship with Emily, the bonds between them? The breakdown of the relationship, the reasons, sharing, the break, the effect on Owen, on Emily? His mother giving him advice on life and it ups and downs, coping? Walter and his support? Owen seeing Emily – and the ordinary friendship?

13. Walter, his reflection on his brother, especially Owen growing up, biological urges, sexuality? Owen baffled by all of this? The cartoon equivalents of romantic love?

14. The graduation, the celebration, his happiness? Packing, travelling, going into the new apartment, the detail, settling in, knowing how to settle, things that he could not do, the question about the post and the key, getting help? Supervised accommodation?

15. The importance of getting a job, the discussion with the manager of the cinemas, his work as an usher and greeting people?

16. The visit to Paris, trying to write his talk, his parents taking him, the speech, the attentive audience, his words in French, the nature of his speech and the explanation about the Disney characters?

17. The film offering an opportunity, in a brief space of time, for some understanding of autism? Appreciation of the situation? The character of Owen, his life, coping – and questions about his future?

SUPREMACY

US, 2014, 106 minutes, Colour.
Joe Anderson, Danny Glover, Dawn Olivieri, Derek Luke, Lela Rochon, Mahershala Ali, Julie Benz, Nick Chinlund, Anson Mount.
Directed by Deon Taylor.

Supremacy is based on actual criminals and events.

It is a disturbing picture of the ideology of white supremacists, their prejudices, absorbing aspects of neo-Nazi propaganda, a severe racist attitude towards African- Americans. The film has been made by an African- American director and received an award for its presentation of issues.

The film takes place over 24 hours with the release from prison of a man, Tully (Joe Anderson) who had been incarcerated for 15 years for armed robbery. In prison he had been influenced by a supremacist leader and found something that he could believe in, overcoming his poor self-image. He is fairly undereducated, puts his faith in the ideology, has a rough and brutal, foul-mouth attitude towards life.

When he gets out of prison he is picked up by an associate of the supremacists, Doreen (Dawn Olivieri) who has her own agenda, especially taking money to get back her child from social services. On the way to his parole officer’s meeting, he robs a store, rejects a sexual advance from Doreen because of ideological purity, but when the car is held up by a police officer, there is a tangle and he shoots the officer. The two then hide out in a home which belongs to an African- American family and they take them hostage.

Most of the action takes place in the house, especially the confrontation between Tally and the old man of the family, played with his usual dignity and vocal rasp by Danny Glover. He has had his own trouble with the law but advises patience, especially when the teenage son gets a knife and threatens violence. Also in the house is the old man’s wife, and a young woman with her little boy and baby. The old man is estranged from his police officer son (Derek Luke) who tries to make contact and is involved in the final confrontation.

The two on the run from the police go through a great deal of anxiety and some soul-searching leading to a rather unexpected non-violent ending.

The director of the film, African- American Deon Taylor, has given a good part of his career to making race-conscious films.


1. A story of white supremacists, their ideology, their actions, their targets, as dramatised with a black family? Black police officers?

2. The settings: prison, the open roads, shops, the street of the shooting, the house, interiors, exteriors, the town? The musical score?

3. The title, the picture of white supremacists, the neo-Nazi attitudes, tattoos and symbols, ideology? Vicious? Violent? Language and imagery?

4. The structure of the film, Tully getting out of prison, being picked up by Doreen, the drive, the shooting, taking refuge in the house, taking the hostages, the interactions, the confrontations, final decisions? The continued insertion of flashbacks elaborating on prison, Tully getting out of prison, interactions with Doreen, the hold-up in the shop, chased by the police officer, the confrontation, the killings, the witnesses rushing away? Further explanations of tallies mentality?

5. The character of Tully, the information about 15 years in jail, armed robbery? His assessment of himself, low self-image, meeting the supremacists, the leader in jail? His mouthing of principles throughout the film? Getting out, the encounter with Doreen, her sexual approach and his rejection, his comment about purity of leaders? The issue of the money, Doreen and her denials, later the discovery of the money, wanting it for her son? The talk, the shop, the hold-up and the fear of the checkout man? The attitude towards the policeman, fears, his surliness, not providing documents, claiming his rights, getting out of the car, the drawing of the gun, shooting the man, so many times? Taking refuge in the house, trying to make the phone call to the prison and asking for help? The supremacists not leaving their own?

6. The household? Mr Walker, Danny Glover’s screen presence? Age, experience, prison, not liking the police, the clashes with his son? His relationship with his wife, her challenging him? With the children? His advocating patience, agreeing with Tully, their being put in the closet? The uncertainties, his advising Anthony to be patient? His going to the toilet, talking with Tully, a certain empathy? The deal, buying supplies, taking Anthony to the hospital? The issue of solemn words – and Tully shooting Anthony? His going out in the car, the phone call from his son and his cutting it off? The return, his not knowing what his wife had done? The police following him? His care for the young woman and the baby, the boy, talking with the boy who wondered whether he was mad at him, not smiling? The final talk with Tully, Tully with the gun in his mouth, the old man urging him to think, choices, his going out with him and the hands up? Surviving?

7. Doreen, her background, losing her son, taking the drugs, the link with the supremacists, her own bigoted and racist remarks? Her concern about getting her son? Travelling with Tully, the sexual approach in his rejection? The shop? The shooting and her being agreeable with the police officer? In the house, variety of moods, taking the cocaine? Talking about shooting, yet hesitating? With the little boy in the discussion about food, her son? Her finally giving up, looking in the mirror, denial about the money, having it? Tully urging her not to go out? Going out with her hands up?

8. The people in house, the mother, caring, severe with the young woman and the children, concerned about Anthony, defying Tully, the phone call her driving to the hospital? Informing the police? The young woman, her children, her fears, brutalised by Tally, having to report anything to him, Anthony with the knife, the mother and her rebuking of the young woman? Her fears, concern about her son, the baby? In the closet, downstairs and confined?

9. The little boy, fears, at the table, the food, talking with Doreen? Anthony, impatient, his background, delivering pizza, wanting to attack, getting the cigarette lighter, pocketing the knife, taking Doreen as hostage, talked down? But Tully shooting him? Going to the hospital?

10. The police, the officer in charge, the searching, the helicopters, the lights? The old man and his son, hostility, the phone call and the old man cutting him off, his going to the door, his being reassured? At the end, the negotiations with Tully, the phone call to the prison? The reconciliation with his father?

11. Tully, the growing desperation, the phone call to the prison, his being abandoned by the supremacists chief, cut off, collapse, his gun in his mouth, the old man talking him down, giving himself up – and the information that he is on death row?

DUMB CRIMINALS/ DUMB CRIMINALS: THE MOVIE

Australia, 2015, 90 minutes, Colour.
Paul Fenech, Kevin Taumata, Alex Romano, Elle Dawe, Angry Anderson, Andy Mc Phee.
Directed by Paul Fenech.

There is a major reason for seeing this film unless one is a devotee of the work of Paul Fenech, who has had a considerable career in Australian television with miniseries and telememovies on Australian Bogans – by no way upper middle but really low, lower.

Fenech is noted for his television series and films with the suburban working class (and sometimes not working) of the Australian city suburbs, the Housos. There is also an interest in pizza, Fat Pizza and some television series focusing on a pizza shop and deliveries.

In many ways, while the tone is satiric and send-up, the focus is on a lowest common denominator of creating characters, their behaviour, their language, their exploits. While there is spoof of the Australian character, the range of men and women shown in the film presents all kinds of loud-mouth, foul-mouth, sometimes drug-fuelled, mentally-deficient, stupid caricatures.

This one starts with a touch more humanity, two stupid bikies, expelled from their club, haunted by the ghost of the founder who has died in prison, that they should rob money in order to pay for hospital bills of his daughter. They are initially shown in the mountains of Nevada with gangs firing on them and then the film goes back, their robbery, being caught on CCTV and too stupid to cover themselves, time in prison, clashes with bikies, getting out with some really dopey fellow-prisons, setting up a house, having contact with the bikies (led by musician and would-be politician, Angry Anderson).

They team up with a rather stupid friend, with his perpetual bong, who is able to succeed in a robbery where the two heroes fail, again being caught on CCTV. He put on a welder’s mask and thinks he is Ned Kelly and the media respond to him in that way. The bikies have another task for our two – which enables the stars and crew to have some time in Las Vegas’ to track down the accountant for the bikie gang who has absconded with all the money – which leads them back out into the Nevada desert.

One good thing is that the little girl gets better.

Paul Fenech who has written, produced and directed all this material, stars as Rabbit, the alleged brains behind the team – who opens the film with a Presley-like performance of a song about rabbits and their sexual behaviour – and is teamed with New Zealand, Maori actor, Kevin Taumata, more good-natured and a touch more stupid, who has appeared in practically all of Fenech’s work.

To be considered in the development and continuation of Australian cinema – principally because Paul Fenech is there.

GREENFINGERS

UK, 2000, 96 minutes, Colour.
Clive Owen, Helen Mirren, David Kelly, Warren Clark, Danny Dyer, Natasha Little, Lucy Punch.
Directed by Joel Hershman.




A pleasant, if slight British comedy.

It is based on actual characters which gives the whimsical tone a little more seriousness. As the title indicates, it is a film about gardening, about a prisoner who lives on resentment and surliness, who gets the opportunity to do something with his life through his greenfingered talent. Clive Owen (Croupier) is usually a sullen presence on screen and this is the way he starts off here. He has to share a cell with an old reformed murderer (David Kelly, the old man from Waking Ned) and is gradually mellowed by contact with him, especially when the first flowers grow.

Since this is a progressive prison, the governer is keen that the prisoners rehabilitate themselves through their creative work. A motley group of gardeners improve the gaol, go out on garden assistance, especially through the patronage of celebrity gardener (Helen Mirren) and her PR manager daughter (Natasha Little). While romance blossoms (as do the flowers), complications doom the attempt by the prisoners to prepare an exhibition for the Chelsea Flower Show.

But... An easygoing, undemanding comedy.


1. A pleasing small British comedy? Oddball situations, characters, interactions? And, despite being a prison film, niceness?

2. The British prison, the traditions of British prison films, the differences? The open prison, the role of the guards, fences, prisoners being on their honour? The prisoners liking it there? The jobs, allotted, prisoners finding that they liked jobs, achievements?

3. The settings of the prison, the local countryside, the gardens, the estate, the Hampton Court show? The musical score?

4. Colin as the focus of the story? His background, not wanting to talk about his crime, being released, missing prison and a petty crime to get back there? The governor and his role? The choice of Colin for the open prison? The touch of the sullen and his not choosing a job? The friendship with Fergus, patient with him? Fergus enthusiastic, giving the seeds to Colin, his carelessly sowing them? The result? The repercussions for Colin? Enjoying being a gardener, claiming this with the parole board? The development of the gardens, at the estate? The meeting with Georgina, her supervising the work, the plan for the show? Colin and the encounter with Primrose, her relationship with her mother, falling in love? And the final achievement?

5. Fergus, old, in prison for life, his view of life, friendship with the prisoners, the seeds for Colin? Encouraging him? The work with the gardens, the show?

6. The governor, his role, attitude, the open prison, dealing with the prisoners?

7. The range of prisoners, Tony, Raw, Jimmy, their work in the gardens, the effect on them, stealing, escaping – and the final explanation?

8. Georgina, her background, the touch of the haughty, skill with gardens, interest in the prisoners, working with them, the show, the day of the judging, success?

9. Primrose, her name, relationship with her mother, the encounter with Colin, falling in love – and a pleasing romance?

10. The benign glimpse of England, the touches of self-satire, the touches of sentiment – but with the expected British reserve?

BILL

UK, 2015, 94 minutes, Colour.
Matthew Baynton, Simon Farnaby, Martha Howe- Douglas, Jim Howick, Laurence Rickard, Ben Willbond, Helen Mc Crory, Damian Lewis.
Directed by Richard Bracewell.

The Bill of the title is William Shakespeare, a would-be lute player in the band, Mortal Coil (from whom he has to shuffle off) in Stratford-upon- Avon, married to Anne Hathaway, with his children. He writes plays and longs for a more successful career, going off to London, despite the protests from his wife.

This is not a biography – it is rather a Shakespearean version of the popular television series, Horrible Histories. While it has a substantial budget, recreates the Elizabethan period with some detail, including London and the court of Philip II in Madrid, it is a spoof, enjoyable for those who are on the wavelength, probably something of a mystery for those who over-reverence Shakespeare or do not understand this playing with history.

So, there is a great deal of potential for entertainment, checking in with history and the facts, moving towards interpretation, the comic perspective, and the role of satire.

This is the 1590s, and Elizabeth has been on the throne for some decades with another decade to go. She is presented as very haughty, moody, calculating – a performance by Helen Mc Crory, with dialogue going back to her father, Henry VIII, the intervention of Philip II of Spain who had married her half-sister, Mary, and the failure of the Armada.

We are taken to the court of Philip II, with Damian Lewis as an envoy who is arrested and tortured. it seems that diplomatic manoeuvres are in progress, with the ambassador to Elizabeth’s court but also the hiring of a group of assassins (all with comic touches on their way, including a cross-dresser who always wants the female parts). the entourage goes to the UK, lands on the coast, is exposed to Customs officials, but they fight, with corpses strewn on the beach. When they go to court, they intend to assassinate Elizabeth during the performance of a play.

One of the characters who turns up, full of self-importance and fanaticism against Catholics, searching for them everywhere, is Francis Walsingham.

The scenes of life in Stratford are entertaining, especially with Shakespeare and the band. On his way to London, he sees criminals held high in cages and gets directions from them only to find that he is almost instantly robbed. Going to an inn, he meets up with Christopher Marlowe, has a good talk, gets a gig where they both roam the streets with placards advertising vegetables – although Marlowe goes over to meat! Marlowe encourages Shakespeare, helps him write and changes the play.

Enter another character, the Earl of Croydon, very snobbish but disdained by fellow aristocrats. He drinks but is not accepted, goes to the court where he volunteers to write a play for Elizabeth’s celebration but finds it very difficult to do the lines. Another character is his servant on whom he relies – and who succeeds at the end.

At this stage, Anne Hathaway comes to London, is set upon in the streets and injured and is rescued by the Earl of Croydon. In his laments about the difficulties in writing a play, Anne volunteers the news that her husband writes plays. The play is accepted, as it is being performed there is a variation on the gunpowder plot and the Spaniards are exposed, especially with the loyalty of the cross-dressing actor transferring to Shakespeare.
For Shakespeare lovers, there are plenty of references to the plays and quotations – and some further amusement with the murder of Marlowe as a spy and his appearing as a ghost to encourage his friend Bill.

One of the main features of the film is that the very versatile cast perform in a wide range of different characters throughout.

INSIANG

Philippines, 1976, 95 minutes, Colour.
Hilda Koronel, Mona Lisa, Ruel Vernal, Rez Cortez, Marlon Ramirez, Nina Lorenzo.
Directed by Lino Brocka.

Insiang is one of the earlier films of celebrated Filipino director, Lino Brocka. It was screened at the 1976 Cannes Film Festival and won awards as it did locally.

The setting is Manila slums, a vivid opening sequence with detail of slaughter and management in an abattoir – perhaps visually suggestive of the drama that was to come. The film has Filipino sensibility, very emotional at times, with a touch of soap opera plot and responses, something characteristic of later Brocka films.

Hilda Koronel plays a teenage girl, the father abandoning his wife and daughter, her mother grown very severe and critical, even blaming her daughter. He takes up with a younger man who then has eyes for the daughter and seduces her. There is a great deal of gossip around that part of the district.

There are quite a number of boys, many unemployed, some with part-time jobs, sitting around, drinking, bragging, groping the girls. One of them is the boyfriend of Insiang to whom she turns after the seduction but he is feckless. The brother of her girlfriend offers support for which she is thankful – and perhaps will respond to her in the future.

The film moves to melodrama with Insiang getting revenge against the young man, his confessing his love to her and his plan for a new job, thinking the mother was not present, but she emerges and stabs him to death. Finale is at the prison, the mother seeming to refuse the outreach of her daughter and Insiang walking away but the mother with some emotion looking after her.

Lino Brocka had a gay sensibility and this emerges from many of the films that he was to make over the next 15 years before his untimely death.

1. The historical importance of the film, the Philippines and its industry, the 1970s, screening at Cannes, awards? Influence?

2. The work of the director, his perspective on the Philippines, on life in the Manila slums, men and women, sexuality, unemployment?

3. The locations, the homes, the slums, shops, the abattoirs, the markets, the streets? The musical score?

4. The sense of realism, situations, people, reactions? The plot, Filipino emotions, touches of the soap opera?

5. The introduction, the detailed work in the abattoirs, marketing? The workplace for the men of the area? Visual symbol of what was to follow?

6. The title, the focus on Insiang, age, relationship with her mother, her mother critical and demanding, the amount of housework, the shopping? The father abandoning his family and taking up with another woman? The mother blaming Insiang? Her friendship with the girl at the shop, chatting, trying the lipstick, but her friend eventually blaming her for the situation at home?

7. The young men, employment, unemployment, drinking, sitting around, boasting? Groping the girls? Going to the bar, playing billiards, gambling?

8. The mother, age, experience, hardship? Her husband walking out? The severity on her daughter, critical, demanding, physically hitting her? Her taking up with the younger man, his living in, the gossip in the district? The mother gambling with him?

9. Dado, age, experience, taking up with the mother, the relationship, sex, love? His eye on Insiang? Her resistance? His coming to her the night, the seduction, his continued declarations of love, critical of the mother? Getting a job in Cebu, wanting to move? His being stabbed to death – Insiang’s revenge, urging him on, provoking her mother?

10. Bebot, the boy around the town, investing, submissive to Dado, work in the garage, the attraction to Insiang, her going to him, the night in the hotel, his leaving, abandoning her, her getting him bashed?

11. Her girlfriend, support, Nanding and his devotion, mending things in the shop, his declaration to Insiang? Her gratitude?

12. Her mother arrested, Insiang going to visit her in prison, her embracing her, declaring her love, the mother and her hard expression? Insiang leaving, walking across the street – but
her mother looking after her?

13. Filipino slice of life?

ANOTHER PUBLIC ENEMY

Korea, 2006, 148 minutes, Colour.
Directed by Woo- Suk Kang.
A Korean film about two young boys, rivals at school, growing to adult hood, one becoming a prosecutor and the other, the rich young man, involved in shady business deals and murder.

Very long at almost 2 ½ hours but the film shows the psychological warfare between the two men, the arrogance of the criminal with his rich connections, laundering money through a golf education club in the United States, thinking he was untouchable. On the other hand, the film gives a great amount of time to the prosecutor, his working with his assistant lawyers, the revengeful motivation that the authorities pick up, his speaking with various authorities, with various thugs associated with the criminal, leading to a final confrontation.

1. A Korea in crime and law drama? The background of the two protagonists, at school, rivalry, the set up for the conflict in adult life?

2. The settings, the police, the world of business, the world of the rich, corruption, crime? The police team, the prosecutor, the assistants, investigations?

3. The setting up of the two boys, backgrounds, rivalries, games, violence, studies? The wealthy boy looking down on the poor boy? The poor boy, studious, making a decision to go and fight, the consequences? His family background?


4. The two men growing up, the boy becoming a prosecutor, his office, those working with him, taking them out for a meal, putting pressure? The authorities? Those approving his investigation? Those critical? The imputation of motives of revenge? How true?

5. The wealthy young man, the source of his wealth, the funds, his contact with the world of business, stand over the tactics, threats? His self-satisfaction? Organising deaths, gaining power and wealth?

6. The world of petty criminals, those associated with the rich young man, the interrogations, the three bound men with the prosecutor investigating, the rehearsed responses – and their being imprisoned at the end?

7. The world of the wealthy, Koreans society, the golf sequences, the laundering of the money in a golf school in the United States?

8. The prosecutor, becoming more involved, the meetings with his rival, the challenges? The arrests, interrogations?

9. The development of the case, the interactions between the two – and the final confrontation and success?

A MIDSUMMER NIGHT’S DREAM

UK, 2014, 95 minutes, Colour.
Nonzo Anozie, John Hannah, Maxine Peake, Matt Lucas, Eleanor Matsuura, Bernard Cribbins, Richard Wilson, Colin Mc Farlane, Kate Kennedy, Elaine Paige, Matthew Tennyson, Hiran Abeysekera, Charlotte Blake, Paapa Essiedu, Prisca Bakare.
Directed by David Kerr.


For more than 400 years there have been many performances of this Shakespearean play, filmed in 1935 by Max Reinhardt with a Hollywood cast, filmed in 1999 again with a Hollywood cast.

This version, pruned to 90 minutes, was made for television, utilising many cinematic techniques and effects, making it very different from the filmed stage version. The screenplay was written by Russell T. Davies, well-known British writer, especially for episodes of Dr Who.

Immediately, the audience senses quite a difference when Athens is presented as a more contemporary fascist state, uniforms, military guards, flags and hangings with fascist emblems. Theseus himself (John Hannah) is a tyrant, preparing for his wedding to the captive Hippolyta, brought in bound with the Hannibal Lecter like mask on her face. His assistant, Egeus, is also fascist in his behaviour, very concerned about his son, Demetrius, and his wooing of Hermia who is in love with the young man, Lysander. Helena, a rather gauche young woman to very good comic effect, taller than Demetrius, is nevertheless infatuated with him.

Then the magic begins with the appearance of a giant Oberon and his elves (Nonzo Anozie) and a confrontation with his queen, Titania (Maxine Peake) attended by her fairies. There is no love lost between the two and quite some expressions of antagonism and magical rivalry.

A key character in the play, of course, is Puck. He is at Oberon’s beck and call and commissioned to wreak some mischief leading to revenge on Titania, getting the potion, dropping it in her eyes as she slept, so that she would be enamoured of the first person that she saw on waking. Puck is also commissioned to put the drops in the eyes of the lovers who have now taken to the woods and encounter each other with some emotional tangles. this time, Puck makes a mistake.

In the woods, the two pairs of lovers encounter each other, and with the drops in their eyes, Lysander becomes infatuated with Helena and Demetrius with Hermia. There is quite a lot of comedy of errors in the speeches, declarations of love, declarations of disdain, taunting speeches. Interestingly, Hermia is played by an actress of African descent and Demetrius by a black actor. Lysander, on the other hand, is very white, with spectacles, something of a nerd. The tall Helena is an enjoyable gauche character.

In the meantime, those who were going to perform the play within the play assemble at a pub, The Mechanicals. Celebrated singer, Elaine Paige, is in charge of the casting and rehearsals with Matt Lucas as Bottom and veteran actors like Richard Wilson and Bernard Cribbins as part of the entourage. The scenes in the pub provide some comedy, especially with Bottom and his speeches, trying to make sense of the play with Pyramids and Thisbe as well is with the Lion, the Wall, and the comedy continues when they go out into the woods and all kinds of miscues during the rehearsal.

The action then focuses on Bottom and his being transformed by Puck into the ass, his encounter with Titania, her being enraptured by him, his response – and Oberon and the elves enjoying her discomfort.

Eventually, the play within the play takes place in the Castle, Theseus presiding. One of the modern touches is that Theseus’ advisor has an iPad and is able to watch what is going on – with Theseus disgusted with a lot of the performances and the exaggerations and putting a red cross on his iPad for their executions. Hippolyta is brought in, still bound. Theseus then has an attack, leaves the hall after his disparaging comments on the play and the players but is seen having a physical turn and collapsing.

Hippolyta is released and it turns out that she is a fairy and rises up with Titania.

The writer, Russell T. Davies, is noted for introducing gay and lesbian themes into his adaptations – evident here when, at one stage, Lysander wakens the first person he sees is Demetrius and is attracted to him; when Hippolyta is released, she embraces Titania; and, amongst the guards and the mechanicals, there is a gay couple dancing.

This version preserves the core of the text but also shows how the action and characterisation is enhanced by visual ingenuity.

SULLY

US, 2016, 95 minutes, Colour.
Tom Hanks, Aaron Eckhart, Laura Linney, Jamey Sheridan, Mike O' Malley.
Directed by Clint Eastwood.

Many of us will remember the story from January 2009 from New York City, the plane that landed on the Hudson River, safely, with no loss of life. Many will remember that the nickname of the captain was Sully, and his name was Capt Chesley Sullenberger. Here is the story.

We are used to aviation stories on screen. We are used to aviation danger stories on screen. we have seen many many crashes. This is the opportunity to see a plane coming down and not crashing, as Capt Sullenberger insists to the examination board, of a plane not going into the river, but a plane on the river. There is a linguistic difficulty of saying landing because we don’t have a word for this kind of event like watering…

And who better to portray this serious gentleman of the year, clear-thinking, calm-reacting pilot with 42 years flying experience, from farm planes, military, to commercial airlines, and Tom Hanks? With white hair and moustache, he has a rather patrician bearing as he goes about his work, as he saves the day, helps in the orderly evacuation of the plane, is concerned about numbers of survivors, prepares to go to a board examining what he did, challenging the information provided by simulations with similar data to what he experienced, hailed a hero by the media and by passers-by in the street – and, ultimately vindicated and praised.

Speaking of the elderly and their abilities, the film has been directed by Clint Eastwood at the age of 85, along an exceptional career not only in performance but in film direction, winning two Oscars, and, since his 70th birthday, providing a long list of top cinema entertainments.

The structure of the film is something of a challenge, starting with Sully and his dreams of what might’ve happened, memories of 9/11 only seven and a bit years earlier, introducing the character, the appearance before a board, flashbacks about his past, and phone calls to his wife – Laura Linney with sequences only on phone calls. The actual experiences kept to the middle of the film the actual experiences kept.

Capital happened rather quickly, the plane taking off from La Guardia airport on its way to shop Charlotte, North Carolina, almost immediately running into a flock of birds, the engine is failing, altitude lowering, contact with flight control and recommendations to return to the airport or tried landing in New Jersey, with Sully estimating that the safest thing was to try to go down on the river. As he says at the end, the whole episode was saved by the combined work of his co-pilots, played by Aaron Eckhart, the flight attendants who keep their calm, the cooperation of the passengers in disembarking, the speedy response of Hudson River ferries, of helicopters and divers, rescuing people from the water, from the life rafts and the number of people standing on each wing.

The examination board is portrayed as rather severe on Sully, implying that he should have turned back to La Guardia and could have reached it, relying on several simulation exercises – But Sully reminds them that it was not a simulation but reality, that there was some time needed to weigh up the alternatives, something omitted by the simulations.

The film runs for only 95 minutes but it keeps the attention with its characters, especially Sully, with the media response, Sully becoming a hero on an ordinary working day in the US, the reconstruction of the flight and the response of authorities, the public and the media.

1. Audience knowledge of the incident on the Hudson River? Information, characters, aviation background, the role of the media, the official enquiry?

2. The contribution of Tom Hanks, his status in Hollywood, the elderly statesman presence? Clint Eastwood, his career, directing this film at age 85?

3. A true story, the appearances of media personalities like Katie Couric and David Letterman as themselves? The coverage of the incident, the interviews? The actual personages including Sully and their appearing during the final credits?

4. Audience response to stories about planes and aviation, passenger safety, pilot experience – 42 years, crop flights, military flights, commercial flights, a safety record? The possibilities for accidents, birds? The training for accidents, the role of the pilots, the flight attendants, the failure of engines, the role of flight control? The human element and human decisions – and the timing?

5. Introduction to Sully, his nightmares, the plane flying through central Manhattan, the echoes of 9/11?

6. Sully, his age, his experience as a pilot, the flashbacks? Called before the boards, the panel, critical, the grilling, the implications of failure? The reaction to his appearances on media? His requests for access to the simulation screenings, his putting pressure on friends? The simulation hearings, Sully being calm, Jeff and his support?

7. The personal aspect of Sully’s life, the phone calls to his wife, details of life, her fears, his daughters? The financial situation?

8. The media and the response, making him a hero, the replays, the interviews, for and against, the David Letterman show?

9. Sully and his anxiety, in the hotel, going for the walk, with Jeff, the run? Going to the bar, the bar keeper recognising him, the naming of a drink after him? Goose with a dash of water? His memories, the training, the 42 years, remembering the plane and the preparation for the trip to Charlotte, the glimpses of passengers, the elderly, the father and his two sons, arriving just in time?

10. The focus on flight control, the handler, his concern, his being in the room and not knowing about the success?

11. The audience seeing the actual episode in the middle of the film, the effect? Take off, the destination, an ordinary flight, the sudden encounter with the flock of birds, the engines, fire, disabled, loss of altitude, the role of the wings, contact with flight control, their advice, the alternate landing strips in La Guardia and New Jersey? Sully and his decision about the river? Landing (rivering/watering) on the river? The passengers, their fears, the flight attendants, urged to brace, the lights going out, on the water? The water coming in? January, the cold, the temperatures? So few hurt? The orderly getting out, life rafts, some passengers in the water, the helicopter rescues? Standing on the wings? The role of the ferries, the pilots and the crew? Saving everyone? The speed with which the operation was completed?

12. The role of the authorities, the mayor of New York, the union representative? Sully, wet, concerned to know the survival numbers? At the hotel, the welcome reception, clothes, things being brought, getting ready for the hearing?

13. The hearing, the importance of the simulations, the return to La Guardia, the board and the public hearing reaction? Sully contradicting, talking about the human element, the time for decisions? The adding of 35 seconds to the simulation, the pilots and their 17 attempts for the simulation? The ultimate failure, reactions? The board, the congratulations? People’s acclaim?

14. American heroics on an ordinary weekday and its effect?

GIRL ASLEEP

Australia, 2015, 77 minutes, Colour.
Bethany Whitmore, Harrison Feldman, Matthew Whittet, Amber McMahon?, Eamon Farren, Tilda Cobham- Hervey.
Directed by Rosemary Myers.

This film began its life as a play, a story about a teenage girl, but written by a male playwright who also adapted the script for the screenplay here – and plays the part of the father of the girl asleep, Matthew Whittet.

The film has received quite a lot of very strongly favourable reviews and has won some awards. But not everyone has been caught up in its comedy and it’s a drama – and its veering into fantasy.

The film will have more appeal to female audience, into teenage audiences interested in and perhaps identifying with the central character, Bethany Whitmore. Mothers will also be interested, making comparisons with their daughters and adolescent struggles.

The setting is the 1970s, home in suburbia, school. we are introduced to Greta, the younger daughter in her family, moving from somewhere else and at school the school for the first time, approached by a nerdy young student, Elliott (Harrison Feldman) and approached by a group of Mean Girls who make demands that she moved with them. Greta is more than a little passive at this stage and complies but also apologises later to get.

Meanwhile, back at home, her mother and father are keen to host a 15th birthday party for her, something which she does not want it all. For me, she has an older sister in she can confide and who gives her good advice. Eventually, Greta agrees but is dismayed at the party dress that her mother takes her out in. At the party, many of the school students arrive with gifts, making Greta somewhat over laden. And Elliott arrives all suited up.So, we can this story go from here?

From quirky and some deadpan situations into a whole realm of fantasy, with some of the wild things are or seem to be. Greta goes into a rather dark forest wonderland, encountering characters who encourage, who told, who confuse – and are played by the actors who portray her parents, her sister’s boyfriend, talking with Elliott’s voice, as well as a benign kind of fairy, female guide. For a puzzling audience, what happens is not always clear – frequently not clear, so the best thing is to surrender to the fantasy, observed Greta and see what the experience of being lost, chased, warned, encouraged leads to.

One of the things it does lead to is a bit of rebellion on Greta’s part and her persuading Elliott, whom she has insulted by suggesting that people say he is gay but has apologised, to give her his suit to wear and feed to wear her dress. Done.The party continues and the film suggests that Greta has gone through something of a rite of passage and will come out well at the other end.

1. The title, the focus on Greta, her age, her fears, her family, her fantasies?

2. The suburban settings, home, school? The contrast with the fantasy sequences, the forest, the characters, the atmosphere? The musical score, the songs? The lyrics and their comment on character and action?

3. Greta’s story, 14, going on 15, her place in the family, relationship with her mother and father, with her older sister and her confidences? The move? Going to the school, new to the area? The atmosphere, the period, school uniforms? Her sitting alone on the bench, Elliott coming to talk with her, her awkwardness, yet her interest in him? The three girls, the Mean Girls approach, demanding that Greta move with them? Her going off, later apology to Elliott?

4. At school, learning, at home, her parents and their expectations? The characters, work, joviality? The plan for a party? Greta not wanting it?

5. The pressure on Greta, the discussions with Elliott, with the girls? Her agreeing to have the party?

6. The preparations, the dress and her not wanting it? The father, his enthusiasm? The mother, her wanting the party, the glamour? The invitations?

7. The party, Greta and the dress, her sister supporting her, the parents dressing up? The guests arriving, saying hello, the gifts? The range of fellow-students? Elliott’s arrival, the suit? The music, the dancing, her parents’ enthusiasm?

8. Greta withdrawing, talking with Elliott, hhis talk about friendship, the advance for the kiss, her reaction, insinuation that he was homosexual, his taking offence?

9. Greta, lying down, going to sleep?

10. The dream, the screen time devoted to it, audiences able to identify with Greta and her puzzles, her quest? Identifying with Greta in the forest? The dim forest, the perils, the touch of the Grimms’ Fairy Tales? Greta herself, her quest, being lost, the trees, the dark, the water, her becoming enveloped?

11. Range of characters, threatening, welcoming? Male and female? The ambiguities? Greta’s father and his character, the mother and her appearance, her sister’s boyfriend, the French background, his talking with the voice of Elliott? The interchange of voices? The benign character, a guide, wisdom, helping Greta? The appearance of the Mean Girls and their influence, at the party, their reactions?

12. The effect of the dream, the change in Greta, more self-acceptance? Her sister urging her to go down to the party? Her apology to Elliott? Seeing everyone again and becoming involved in the party? Her changing into Elliott’s suit and his changing into her dress?

13. A symbolic coming-of-age story? The male writer of the play and screenplay? The women performing, directing? The impact for parents, for teenagers, for teenage girls like Greta?