EMBRACE

Australia, 2016, 90 minutes, Colour.
Directed by Taryn Brumfitt.

Embrace is a documentary film as well as something of a portrait of the filmmaker, Taryn Brumfitt, from Adelaide.

It is also a film designed for a female audience – although men would have quite a deal to learn from watching the film, checking their basic attitudes towards women and accepting a challenge to their inherent chauvinism.

Taryn Brumfitt posted photos of herself, Before and After, having given birth to 3 children, enrolled in a gym and gone in for pumping iron competitions and then realising that she was acceding to presuppositions about body form, returning to living a “normal” life, sharing it with her three children and a devoted husband.

In posting the photos on social media, she was overwhelmed by the response. Basically, women communicated with her about issues of the body, acceptance and non-acceptance, feelings of inadequacy as well as living up to expectations, especially from ideal (and often photo-shopped) images of women in the media. But she also received quite a number of hostile responses, especially from men, taunting her as fat and ugly and criticising her body shape, urging her to go to the gym, diets… It is surprising how openly vicious many of these comments were.

There is a reference to the “noxious ideals” about the human body, especially the ‘perfect’ female body, in the media. There are also some alarming moments and photos of the blatant sexualisation of little girls.

Taryn then decides to go on a world tour to interview women about the body, their own experiences, pressures put on them, their ways of coping.

Starting in the United States, Karen interviews people like television host Ricky Lake who, over some decades, had to deal with criticisms about her size. Taryn then moves to Canada and then to Europe.

While the interviews are somewhat repetitive, this has the value of reinforcing how dominating glamorous stereotyped bodies are – especially with the comment from the CEO of Abercrombie and Fitch about advertising for good-looking people only to wear their good-looking clothes!. What is particularly interesting is the range of women that Taryn meets who have some kind of “defect”.

There is the woman, fine appearance, who tells her story of having a brain tumour which paralysed half her face, distorting her expressions, undergoing a deal of physiotherapy but also learning to accept the limitations of her condition. Perhaps surprisingly there is the woman in London who experienced an extraordinary growth of facial hair and, despite her attempts to remove it, it increased with her decision then to accept that this was her reality, lives as a woman with a beard, and has some satisfaction with who she was.

By way of contrast is the German actress, Nora Tschirner, who has a lively conversation with Taryn, talking about her film career and expectations, seeing her on red carpets and at socials, but expressing a great deal of common sense on self-acceptance.

Before returning home, Taryn goes to a photo shoot with a celebrated photographer, this time with a group of women of all shapes and sizes, large and small, one with a leg disability, a black woman who is proud of her large-size as well as a transgender woman. This is an exhilarating sequence as the women are able to accept themselves and rejoice in this.

As we watch Embrace – with the exhortation from Taryn Brumfitt’s organisation and other groups that we all accept the reality of who we are – we realise that the “perfect” body is rare and discover that glamorous models also have their doubts about themselves.

The message of the film is very sensible. some commentators have recommended that this film should be shown to adolescent girls at school to focus their attention on reality rather than image.

A HOLOGRAM FOR THE KING

Germany, 2016, 98 minutes, Colour.
Tom Hanks, Alexander Black, Sarita Choudhury, Sidse Babett Knudsen, Tom Skerritt, Ben Whishaw
Directed by Tom Tykwer.

An arresting title. What kind of hologram? And who is the king? Both questions answered in due course.

Something of the tone (both light and serious) is set at the opening where Tom Hanks as Alan Clay appears in a video clip advertisement, he being persuasive and everything in opposition going up in a puff of pink smoke. Alan Clay is a salesman and we see him discussing a project with his boss, developments in IT for a deal in Saudi Arabia.

The hologram (which we eventually see illustrated) is for communication developments in the Kingdom and the King is the king of Saudi Arabia.

Alan has had a difficult past, working for a bicycle company which then lost its local base with the bikes being produced in China, leading to work retrenchments which Alan had to preside over. He realises it was a mistake and this recurs in his dreams – as do scenes from his past, his marriage and its breakup, his little daughter and her growing up, in communication with her, communication with his father. And he has these interludes because of his flight to Saudi Arabia, the jet lag, the pressures of the job…

It soon becomes obvious to Alan that lifestyles, customs, business rituals in the Kingdom are certainly not those of the United States. Executives say that they will be present on a certain day but are not, say that they are in New York City but they are in fact upstairs. and King has not been to the demonstration centre for 18 months, is discovered to be on a visit in Yemen. Will he turn up?

What happens to Alan is that he enlists the help of a local driver, who spent a year studying in Alabama, Youssef (Alexander Black) who is a genial friend, has a girlfriend who is the wife of a rich Arab and is fear in fear that his car will be set up with bombs, has a loud taste in music but can be relied on by Allen as the days go on – except when Alan accepts an invitation to go to his home out in the desert and Youssef neglects to follow the notices on the highway which indicate that all non-Muslims must take an alternative route and not go through the city of Mecca (but they do, which does give the audience some intriguing images of this most sacred city).

As for the contract, his staff are put up in a huge marquee away from the main building, have to bring food each day from the hotel, and there is no Wi-Fi! Alan does get some help from a Danish woman who works in accounts, goes to a party at the Danish Embassy where all the foreigners let their hair down plus. In the meantime, Alan has to go to the doctor, is helped by a local woman doctor (Sarita Choudhury), has to have some minor surgery for a burdensome cyst on his back and becomes involved with her.

After some complications, the king does turn up, there is a demonstration of the hologram – but, as always, the Chinese have a better offer!

There is quite some interest in the characters and the whole treatment of an American trying to find his feet and his way in Saudi Arabia, quite a lot of local colour.

But, in the latter part of the film when Alan and the doctor get together (and quite a number of bloggers have questioned the possibility of this kind of relationship, especially a surprising scene of topless bathing), the pace of the film slows down considerably and seems something of a dramatic anti-climax.

But, Alan does find some possibilities for his future in relationships and in work.

The film was written and directed by TomTykwer?, German director well known for such films as Run, Lola, Run and his contribution to the mysterious Cloud Atlas, which also featured Tom Hanks.

1. An international story? An American in the Middle East? A story of Saudi Arabia?

2. The locations: Boston, the business offices? The locations for the flashbacks? Saudi Arabia, the cities, streets, buildings, hotels, the trade centre, the tent, apartments, hospitals? The city of Mecca? The countryside, the desert? The musical score?

3. The title, the tone, the explanation, trade and development?

4. Tom Hanks film, his presence? Age, character, the company and the boss, his skill in promoting, persuading? His task and going to Saudi Arabia?

5. The opening video, advertising, the disappearances in the puff of pink smoke, Alan and his style? The device of memories and flashbacks, inserted, his jobs, his fears and his health, the image of the rollercoaster, seen as young, with his daughter, wife, alienation? His father? The bike company? The retrenchments, his presence with the workers?

6. Talking with Kit, with his wife, the issues with his daughter, encouraging her? Talking with his father? The phone calls from the office and the pressure on him?

7. The flight, feeling awry, the jet lag, through customs, the hotel, the room, sleeping, waking late, showers, the cyst, the phone calls? The contact with Youssef? The car, his story about his girlfriend, the rich husband and putting bombs in the car? Talk during the drive, the variety of music, describing situations, arriving, – Youssef being snubbed at the centre?

8. Audience knowledge of Saudi Arabia, Arabic language, Islam, the picture of the mosques, driving through Mecca? (Non-Muslims not allowed through Mecca), the Conservative traditions? Roles of men, women? Clothes? Manners? Treatment of time, bargaining, lateness, absence? The contrast with the American style?

9. Alan arriving, his contacts not being present, the receptionist, putting him off, going to the tent, the interactions with his staff, the lack of Wi- Fi, food…? The repetition of the visit to the tent each day?

10. Going to the building, into the lift, meeting Hannah, the attraction, her inviting him to the party, the foreigners all letting loose with drinking, drugs, Hannah and the proposition, Alan and his refusal? Later seeing Hannah?

11. The cyst, his getting the knife, the blood, Youssef and the reaction, going to the hospital, meeting the doctor, her treatment, the talking, the need for the biopsy, the success of the doctor, the issue of anxiety, the operation, the Chinese surgeons? Alan and his contact with the doctor, in the room on the phone, her explaining the divorce issues? The contacts, the collage of their writing to each other, becoming more friendly, meeting, her picking him up, the swim, bare-breasted, the discussions about their children, the beginning of the affair? The plausibility of this kind of thing happening in Saudi Arabia, the meetings of the foreigner with the Saudi woman?

12. The chance meeting of the official, his studies in America, Youssef and his study in Alabama, going to the apartments, the squalid group and the fighting? The executive room, display? The bluff about KFC and of the shops? Alan being left there?

13. With the team, getting the better Wi- Fi, the food, the preparation of the hologram, the demonstration? Dave and his presence in the hologram? The demonstration for the King, the preparation, carpets and lavish? The King appreciating it? The irony of the Americans not getting the contract, and watching, the giving of the contract to the Chinese?

14. The back story of Alan, working on the bike company, the transfer to China, the sacking of the workers, the Chinese making the bikes, less expensively – this as background to the Chinese in Saudi Arabia and deals?

15. The affair, the character of the doctor, the attraction to Alan, vice versa?

16. His new job, the new apartments, in sales, and continuing the relationship?

ROMEO & JULIET/ KENNETH BRANAGH’S ROMEO & JULIET

UK, 2016, 140 minutes, Black and white.
Lily James, Richard Madden, Derek Jacobi, Meera Syal, Marisa Berenson.
Directed by Rob Ashford and Kenneth Branagh.

In 2015-2016, Kenneth Branagh’s theatre company spent a year at the Garrick Theatre in London with such productions as A Winter’s Tail and The Entertainer. This version of Romeo and Juliet was part of the season.

Kenneth Branagh introduces the film and highlights how he was influenced by the style of the Italian films of the 1950s, where he sets the play, especially the black-and-white photography of films like La Dolce Vita of Federico Fellini. This version is filmed in black and white widescreen. Given the austerity of the stage set, flat space, steps, pillars, it works very well.

Branagh himself does not appear but he has changed the subsidiary character of Mercutio into a swinging man in his mid-70s in the form of Derek Jacobi who presents the Queen Mab speech with great elocution as a series of images. He also literally jive-swings onto the scene, has a stick with a sword, and adds boom-boom to his witticisms. Perhaps not so persuasive with the sword and the confrontation with Tybalt, but it is an interesting variation on the character.

Also interesting is British stage, screen and television actress and comedian, Meera Syal (The Kumars at number 42) as the down-to-earth nurse. And Marisa Berenson, perhaps best known for Barry Lyndon, is Lady Capulet.

The casting of Romeo and Juliet is the important central feature. Branagh had directed Lily James and Richard Madden in the cinema version of Cinderella, a very successful adaptation of the fairytale. Richard Madden looks the part but, somehow or other, is not as strong as he might be and, while he is a stage presence, his delivery somehow or other lacks the oomph and articulate a rendering of the verse by other performers of the role. in contrast, Lily James is very good as Juliet, young and inexperienced, doing a cartwheel across the stage, and (with audience response divided in opinion) swigging from a bottle of wine during the balcony sequence – and later having hiccups when she is nervous. However, she delivers her lines strikingly and holds the stage in the latter part of the performance.

The action moves fairly quickly, not all that much attention given to the brawling in the streets of Verona, moving the action with Friar Lawrence and the potions rapidly – and Juliet progressing, perhaps too rapidly, from young teenager to wife.

There have been many versions of Romeo and Juliet, including the Leslie Howard- Norma Shearer version of 1934, a much older couple; Laurence Harvey and Susan Shental in 1954; Olivia Hussey and Leonard Whiting in Zeffirelli’s 1968 version; Leonardo Di Caprio and Claire Danes in Baz Luhrmann’s Romeo + Juliet; Douglas Booth and Hailee Steinfeld in a less than sparkling 2013 version.

The filming of thid version was by director Benjamin Caron who also directed the three Wallander films in the fourth series.

HITCHCOCK/TRUFFAUT

US, 2015, 79 minutes, Colour.
Hitchcock, François Truffaut, Martin Scorsese, Peter Bogdanovich, Wes Anderson, Paul Schrader, Olivier Assayas, James Gray, Kyoshi Kurosawa, Arnaud Desplechin, Richard Linklater,
Directed by Kent Jones.

Although he has been dead for over 35 years, Alfred Hitchcock and his name have become a byword for screen thrillers. So many of his films remain as classics.

The young French directors of the 1950s were in great admiration of Alfred Hitchcock seeing him as an artist more than as a popular director. In 1962, François Truffaut who had made quite an impact with his initial film, The 400 Blows, contacted Hitchcock and asked if he could spend a week interviewing him, going through all his films, exploring themes, exploring techniques, exploring impact. Hitchcock agreed and Truffaut went to California, the discussions taped but a translator also present to facilitate communication. The resulting book from these conversations finished up in every cinema library and the personal libraries of cinema buffs.

Director Kent Jones has gone through the material – but his limitation was that his documentary runs for only 80 minutes. Many of those watching the film, always with the utmost interest, will wonder why particular favourite films scarcely rate a mention, including Spellbound and North by Northwest.

This is a good opportunity to appreciate Hitchcock himself, his portly manner, his semi-sepulchral voice, his touches of wry humour, and his cooperation with Truffaut. Truffaut, is young and eager.

At the beginning of the film a great deal of attention is given to the 1936 film, Sabotage, a serious thriller with strong close-ups and a stabbing sequence. Later, most attention will be given to Vertigo, many sequences included, and quite a lot of discussion about the film and its sexual implications, as well as to Psycho, an analysis of the first half, the mundane office work of the central character and her stealing the money, going to the Bates Motel and the famous shower scene.

A number of contemporary directors are interviewed, mostly American, some French, and their views on particular films, their insightful comments on the techniques, camera use, editing, are very helpful. Martin Scorsese is particularly interesting on Vertigo but, particularly, on Psycho and the lesser-known thriller of 1956 with religious implications, specifically Catholic, with Henry Fonda, The Wrong Man.

Besides Scorsese, some of the directors interviewed are David Fincher, Peter Bogdanovich, Richard Linklater, Paul Schrader, James Gray, Olivier Assayas.

This is a film which will interest every cinema buff – and, with the clips of so many films, with the intelligent and insightful discussions, with the enthusiasm of Truffaut and the generally benign comments of Hitchcock (they both keeping up a correspondence for the next 15 years), it is a documentary well worth seeing and reflecting on.

ABSOLUTELY FABULOUS, THE MOVIE

UK, 2016, 91 minutes, Colour.
Jennifer Saunders, Joanna Lumley, Julia Sawahla, Jane Horrocks, June Whitfield, Mark Gattis, Graham Norton, Kathy Burke, Celia imrie , Robert Webb, Stella McCartney?, Kate Moss, Emma Bunton, John Hamm, Jeremy Paxman, Rebel Wilson, Jean- Paul Gaultier.
Directed by Mandy Fletcher.

Comedy is always a matter of taste as well as of a sense of humour and particular sensibilities. In the 1990s, there was great enthusiasm for the British television series, Absolutely Fabulous. It was in the satirical tradition, spoofs and send ups in an elaborately stylised way. it always depended on audience response to the comedy of Jennifer Saunders, a clever writer responsible for the series, and the over-the-top of Joanna Lumley’s screen presence and calculated exaggerations. capital is a great opportunity to poke fun at the British chattering classes and their pretensions. There was also Julia Sawahla as Jennifer Saunders’ very serious daughter, comic touches from Jane Horrocks as the assistant and some cameos from veteran actress, June Whitfield, as the mother.

So, somebody decided that this particular time was right for the characters all turning up again – and all of them do, Jennifer Saunders as Edina, older and, she comments, having put on weight, Joanna Lumley as Patsy all over again, an older Julia Sahwahla, now with a young daughter, and Jane Horrocks’ Bubbles ebullient as ever.

But, what are they going to do about a plot? Edina is still an agent but on the lookout for clients, Patsy is always there, drinking, smoking, irrelevant comments, but a staunch friend. The basic idea for the film is that they go to a fashion show – with a whole lot of actual celebrities all turning up for their cameo minutes, especially Lulu who gets into the plot and designers like Stella McCartney?. And very amusing episode with Mad Men’s John Hamm. The main target is Kate Moss but Edina’s rival, played by an unscrupulous Celia Imrie, is also interested in signing up the model – and in the haste Kate Moss goes over the balcony into the Thames, disappears, is presumed dead, media uproar, the besieging of the house, and Edina accused of murder.

So, what else to do but to have the two women disguised and escaped to the French Riviera where they live the high life, always shrewd in extracting money and favours, especially with Patsy looking up an old flame, an old roue who made “adult” films – and, though it takes only a moment, we recognise he is being played by Barry Humphries. A few moments later with a lot of elderly people in a swimming pool, Dame Edna also pokes her head out of the water for a few unmistakable seconds!

There are a whole lot of shenanigans on the Riviera, Edina taking her granddaughter as a ploy, her daughter pursuing her, the police – and again, a number of cameos of celebrities, including Jean- Paul Gaultier doing a bit of prospecting on the beach. And rebel Wilson doing a very funny turn as a flight attendant on a very cheap airways.

It will depend on your sense of humour, on your liking for Absolutely Fabulous, and the realisation that it is not a rip-roaring comedy but that there are a lot of amusing situations, some amusing lines, and, mostly, the opportunity to see Edina and Patsy all over again.

THE HEART OF A LION

Finland, 2013, 104 minutes, Colour .
Peter Franzen, Laura Birn, Jasper Paakkonen, Yusufa Sidibeh.
Directed by Dome Karukoski.

The 21st century, with the upheavals in the Middle East as well as in Africa, has seen huge migration to continental Europe. This film, from Finland, is an attempt to explore some of the consequences of the migration and the huge reaction against it by racists, especially with neo-Nazi ideology bursting into violence.

This is a visual critique of the neo-Nazis, the group presented completely unsympathetically, their skinheads, their tattooed properties, their emphasis on the physique, playing sport together, some homoerotic overtones.

However, the central character is a committed neo-Nazi, sometimes slow on the uptake, admitting that he has difficulty with thinking, reading, doing casual jobs but attracted to a waitress and beginning an affair with her, only to discover that her son has a black father. The boy does not take to the neo-Nazi as a stepfather, calling him a Nazi loser.The man is also cautious but his girlfriend relies on him to be a father-figure, take the boy to school where he sees him being bullied, teaches him some fighting moves and then intervenes to exchange shirts with the bullies, giving them the torn shirt – only for him to be attacked by a group of angry fathers.

Another complication is that the girlfriend becomes pregnant and spends time in hospital while his half brother, also a committed neo-Nazi who wants out of the Army, comes to stay with him. The point of the narrative is that gradually the father-figure warms to the boy and become something of a father, even reading The Lord of the Rings to his stepson. The half brother is hostile but defends his brother who wants to help him with a loan to rebuild the family home but he sets off a grenade in the outhouse and kills himself.

In a symbolic ending, the neo-Nazis come and callously cut off the tattoo from the body of their former comrade – who finishes up laughing what has happened along with the boy.

An interesting comparison is the Australian film, Downunder, about race riots and the stupidity of racism in Cronulla in 2005.

1. A Finland perspective on migration from Africa and the Middle East to Europe, to Scandinavia, to Finland? The presentation of racism and, neo-Nazis? The presentation of ordinary citizens? Racism and tolerance? Humanity?

2. The locations, the town, bars, homes, playing fields, countryside? The musical score?

3. The introduction to Teppo, the induction to the neo-Nazis, skinheads, statues, rituals, loyalties? Teppo and his motivation, enthusiastically joining in the activities? The attacks on Blacks, Chinese, serving in shops and demanding receipts, the overturning of the fast food kiosk? The camaraderie, playing sport, the homoerotic suggestions? The men and their loyalty to the group, and this being their complete life? The chant for White Finland?

4. Teppo, at the bar, the discussion with Sari, the extra cup of coffee, his having no money, his not being intelligent, working with his hands, jobs? The attraction? Giving him the extra cup of coffee, going home, the sexual encounter? Her discovery of his neo-Nazi tattoo and her not wanting anything to do with him? His being ousted, going back, her consenting for him to come home? Her explanation about her son – and his
black father?

5. The pressure on Teppo, the group, going on violent sprees?

6. The personal development for Teppo, his liking Sari, his being taken aback by her son, a request that he be a stepfather, initial reluctance, the demands, taking the boy to school, the boy’s hostility towards him, calling him a Nazi loser? The gradual change, the human feelings, for both mother, gradually for the boy? The bullying in the schoolyard and his training the boy in some techniques? His confronting the boys, changing the torn shirt, the visit of the parents and their violent attack on him? The return, the neo-Nazis and the confrontation and fight? The group offering money?

7. Teppo’s brother, his turning up, leaving the Army, Teppo taking him back, interview with the commander, his stripping off his uniform, moving into the house? Teppo trying to protect the boy? The brother, the delineation of white and coloured sections, notice on the door of Whites Only? The boy conforming to this?

8. Sari, going to hospital, pregnancy, the decision to have the baby, absent from home, the visits?

9. The bonding between the boy and Teppo, Teppo reading him The Lord Of the Rings?

10. The personality of the brother, his taunts, Teppo’s demands, a gradual mellowing? Teppo going to the family property, the possibility for a loan, the building again, the brother going into the outhouse, the grenades and his blowing himself up?

11. The neo-Nazis, coming to the home, the brutal removal of the tattoo, Sari coming home, Teppo laughing, his breaking free of the neo-Nazis, the possibility for him to live a human life?

12. The films presentation of the brutal neo-Nazis, their prejudice, racism, isolation, fanaticism about White Finland? The contrast with human experience and its changing brutal ideology?

WALLANDER: A LESSON IN LOVE

UK, 2015, 90 minutes, Colour.
Kenneth Branagh, Kitty Peterkin, Jeany Spark, Harry Hadden- Paton, Terrence Hardiman, Barnaby Kay, Cecile Anckarswald, Clive Wood, Hugh Mitchell.
Directed by Benjamin Caron.

Kenneth Branagh appeared in three series of Wallander television films. This is the second of three in the final series. Wallander returns from African and this story is set in Sweden and the expected settings.

At the beginning of the film, Wallander is mugged in the public square by Bikies – which leads into a theme of bikies, a dead woman who owned property where they lived, wanting to oust them, is found dead. There are the regular investigations but there is a shift in emphasis away from the victim as sympathetic – she is not – and more sympathy to the daughter who has struggled with her mother and a knife.

There are complications about the daughter, her being fostered out, her mother forbidding her to make contact with the foster parents, visit from a foster brother, the discovery of letters, clash with the mother, her death – and the son of the bikie leader in love with the girl and protecting her.

There are some family scenes with Wallander and his daughter and, especially, very playful scenes with his granddaughter. There is also an encounter with the father of his son-in-law and a visit to his home for a party. And Wallander has a relationship with a pianist.

One of the concerns is Wallander’s health – which will lead into the final film in the series.

1. Wallander growing older, unwell? A murder mystery, his investigation, his team? His relationship with his daughter, granddaughter, the in-laws?

2. The settings in Sweden, the city, the nursing home, the fields, the bikie centre, homes? The musical score?

3. The title? Indicating a twist in the theme?

4. Kenneth Branagh is Wallander? Age, experience, long years in the police? The good relationship with his daughter? The humorous scenes and play with his granddaughter, taking her out, the phone calls, at home? His son-in-law? The son-in-law’s father, the invitation to the party, his going, the gift of his father’s painting, the conversation?

5. His relationship with the pianist, the past, her visiting, staying with him, the meal, the relationship? The concert, Linda present? The pianist leaving?

6. The woman missing from the nursing home, the search, finding her, her pointing to the dead body? The identification? The story? Her dead husband? Her daughter and her disappearance?

7. Wallander, being bashed and mugged by the bikie group? The news about the group, his going to the premises, the antagonistic conversation with the leader? His punching Wallander? His concern about his son? Being taken in? The son, the interrogations, silent? The information about his relationship with the missing girl? His gradually telling the truth?

8. The police, investigations, the search of the bikie premises? The finding of the knife?

9. Wallander, dizzy spells, lack of concentration, blanking out? Visit to the doctor, the biopsy? The scan? His being called to the doctor for more information?

10. The murder victim, revelations about her, an angry woman, cantankerous with the bikies, wanting to oust them, legal action, Wallander visiting her lawyer and getting the truth? Her husband dying of heart attack?

11. The daughter, fostered, no contact with the foster parents, Wallander interviewing them, the other fostered son, his coming forward, the letters, discovering that her mother would not let her contact the foster parents, her being upset, receiving the letter from the foster brother?

12. Pontus, his being interviewed, his father’s concern, his relationship with Rita, Wallander driving, picking her up, not recognising her, the stop, his realisation, her running away, pursuing her, the truth, Pontus protecting her, hiding the knife?

13. The resolution of the mystery – and the shift from sympathy to antipathy towards the victim, concerned about the daughter and the clash with her mother?

14. And concern about Wallander’s health?

THE SHALLOWS

US, 2016, 86 minutes, Colour.
Blake Lively.
Directed by Jaume Collet- Serrra.

The Shallows is a shark story for the 21st century. Clearly, it is in the tradition of Jaws – although Jaws is now 41 years old.

Audiences who see shark films are expecting some terror arising with men and women by the shark, expecting this shark to be demonised, expecting some jump cuts in the editing so that they share in the terror of the victims. There are all these ingredients in this film.

In fact, it is a rather small film, a rather more modest film compared with so many of the post-Jaws films, including the Jaws sequels. The focus is on one person and her experience of being terrorised by the shark.

The one person is Blake Lively as Nancy, a medical student who is still sad at the death of her mother from cancer, has emotional tangles with her father, is protective of her younger sister. She decides to go to Mexico to visit the beach that her mother had enjoyed when she was pregnant with Nancy, an isolated beach in Mexico. She travels with a friend who backs out of the trip to the beach, gets a lift with a local to the beach (he giving her the wise advice as she checks through the photos of her mother on her phone that she should look outside the car into the beauty of nature – which she does).

And she goes on her surfboard, huge waves, and two young locals also surfing – but soon, they go home.

Nancy discovers a dead whale with various birds picking at the flesh – and then, of course, the shark attracted by the blood attacking the carcass and getting ready to torment Nancy.

The film initially lulls the audience with the beauty of the beach as well as quite a lot of surf action but, once the shark appears and threatens Nancy, her leg is gashed but takes refuge on a rock, one of the problems being the changing of the tides and the rocks going underwater at high tide. There is a beacon buoy nearby and Nancy is challenged, even with her wounded leg and loss of blood, to time the circling of the shark and to swim to take refuge on the buoy.

Time passes. a seagull has been hit by the shark, bleeding from its wing – which, practically and symbolically, she fixes. Night, the sun during the day and has she shades herself a little with part of the broken surfboard. Will anybody find her? And, if they do, will the shark deal with them as well?

Of course, everybody is hoping for a happy ending – but the point of the film is sharing the experience with Nancy, the pain of her pinning her wound, the discomfort of the hours on the rock, having to swim through a whole lot of jellyfish, the buildup to the shark attacking the buoy and her using her wits as well as desperation.

At the opening of the film, a young boy has found a helmet and a camera with scenes of the shark, so we realise after a while that this will be important at the end of the film.

In a way, it is no great shakes (although the audience does jump out of its seat a couple of times) but, despite some plausibility holes in the plot, especially the time passing, her not having any food or water, Blake Lively, with whom the camera is in close-up love, is an engaging presence to make the film a brief time-passer. (And it was filmed in Queensland and on Lord Howe Island.)

1. The popularity of shark films? The Jaws tradition? This focus on an individual and her struggle with the shark?

2. The location photography, Australia standing in for Mexico? The bush, the beach, the surf, the rocks? The dramatic musical score?

3. The title and its tone? High tide, low tide? The water covering the rock refuges? The behaviour of the shark?

4. Nancy’s story? Age and experience? Looking at the photos of her mother, the beach in 1991? Tension in relationship with her father? Fondness for her younger sister? The memories of her mother and her cancer, fighter? The phone communications with her sister and her father, her father urging her on?

5. Driving through the bush, the local Mexican, his urging her to look at the local beauty rather than the photos? Arrival at the beach, happy to be there? Going into the surf? The encounter with the other surfers, friendly?

6. Her experiences, seeing the dolphins, the dead whale, the presence of the shark, the slash to her leg, taking refuge on the rock, knowledge of medicine, the pain of stitching, the tourniquet? Her being stranded on the rock for so long? The circling shark? The seagull and its injuries – and her later helping it? Time passing, lack of food and water, sun and the shielding with the surfboard piece?

7. Her calling out to the surfers, the leaving? Seeing the drunken man on the beach, signalling, his pocketing her phone, his return, being taken by the shark? Her trying to warn him? The next day, the surfers returning, her signals, their deaths, the surfer with the helmet and camera, her risks in retrieving it? Using it for her message to her family?

8. Timing the shark, attempting to swim, the many jellyfish and the swim, reaching the buoy, the shark and its vicious attacks, the buoy removed from its moorings, her using the chain, going down, the shark pierced?

9. The initial scene with the boy and the camera, it being reprised, getting his father, the car driver, the rescue?

10. The epilogue, a year later, her injuries, with her father and sister, graduating in medicine, going into the surf?

WALLANDER: THE WHITE LIONESS

UK, 2015, 90 minutes, Colour.
Kenneth Branagh, Bonnie Hanna, John Kani, Alex Ferns, Limogang Tsipa, Tumosho Masha.
Directed by Benjamin Caron.

Kenneth Branagh appeared in three series of Wallander television films. This is the first of three in the final series.

Author Henning Mankel could make his readers feel very much at home in the bleakness of Sweden, whatever the season. He also had a great interest in Africa, quite a number of his novels set in southern and eastern Africa. This one is set in Cape Town but has excursions out into the countryside.

Wallander is in Cape Town for a conference, Making a Difference, when he is approached by the police chief to explain the disappearance of a Swedish woman, which the audience has seen as the opening of the film. Wallander goes out to investigate, interviews the distraught husband, teams up with a local policewoman, a widow whose policeman husband was killed in the line of duty, meets a veteran of the apartheid years who spent a long time in prison, sees a local holding rallies for forthcoming elections, finds a young man who has been set up to train for an assassination attempt.

Wallander is still rather grim in his outlook, sometimes taciturn, but incurably eager to continue investigations even into dangerous situations. While the film is basically the solving of a murder mystery, it also takes us into recent decades of South African politics, especially corruption at a political level, and at a level for contemporary development programs.

1. The popularity of the series? Kenneth Branagh’s presence and performance? The Swedish detective, police work, cases, personal life?

2. The South African settings, the countryside, open spaces, villages? The contrast with Cape Town, urban development? The police conference, rooms and hotels? The more local scenes – with a touch of squalor compared with the fine mansions? The musical score?

3. The title – and the indication as a symbol of hope?

4. The setting of the plot, the white woman driving, the turn, the buildings, the encounter with Victor, her disappearance? The concern of her husband, his Christian work, with youth, his anger with the police, his past record in Sweden, the possibility for change?

5. Wallander in South Africa, the Skype conversation with his daughter? The conference, Making a Difference? His attending the sessions, especially the tourism and police conference from Max? The breaks, his being approached by the police, Wallander and Grace in their search for the backup shooter, Wallander finding the window, persuading the shooter to back down? Max and his leaving the rally, their finding him dead in his office? The issues of corruption in South Africa – even from those who were imprisoned for their beliefs?

6. The training for the shooting, the security guard, on his bike, Wallander and the number plate, identifying him, going to the warehouse, finding the dead woman, the confrontation, Wallander hitting him, his falling through the floor to his death? The phone call from Max?

7. The politician, the rallies in the towns, the people supporting him, Max and his support? The warning about the death threat, his not wanting to back down, his speeches?

8. A variation on a murder investigation, the police work, the variation on the theme of political corruption?

SUICIDE SQUAD

US, 2016, 123 minutes, Colour.

Will Smith, Margot Robbie, Jared Leto, Viola Davis, Ezra Miller, Jai Courtenay, Common, Jay Hernandez, Cara Delevingne, Joel Kinnaman, Adam Beach, Adewale Akinnuoye Agabje, David Harbour.
Directed by David Ayer.

An enthusiast for Suicide Squad noted that it is a movie for those who are fans of DC Comics and are familiar with the characters, especially when they enjoy them. The enthusiast then noted that it was probably not a film for the casual movie viewer. Very true indeed!

While this reviewer has seen the Superman films and the Batman films and so has some esteem for DC Comics, this one was too much. For much of the running time, there was the temptation to label the film as absurd. As it went on, the temptation was to label it as bizarre. Then the realisation came that it was not a matter of either/or but of both/and, absurd and bizarre.

A lot of this was the intention of the writer-director, David Ayer, noted for some strong, muscular dramas in the past, like the World War II film, Fury. Actually, World War II stories led to an inspiration for this screenplay, a 50 years-on reinterpretation of the basic plot of The Dirty Dozen.

An American city is under siege from strange creatures and a powerful political/police chief, Amanda Waller (Viola Davis) has the idea that to deal with the threats to the population who are fleeing in fear is to round up a group of criminals with aggressive talents and set them on to the enemy.

It should be mentioned that the DC connection is there insofar as Batman has been instrumental in the imprisoning of some of the criminals – and, for those who are patient to wait during the credits at the end, there is a conversation between Bruce Wayne and Amanda Waller, the powerful woman in charge, which indicates that this bizarre, non-suicidal half-dozen will be back again.

In setting the scene, the film introduces us to a range of these villains who are now in prison. There is Deadshot, played by Will Smith as Will Smith, an assassin with a deadly target success and a range of weapons which enables him later to be gun over-crazy. Then there is Harley Quinn whom we discover was a psychologist treating the Joker, falling in love with him, taunted by him to dive into a vat and then rescued by him – and the film has intermittent flashbacks to her memories of him as well as his coming to rescue her at the end. There has been a lot of publicity about Jared Leto as The Joker, a rather gaunt Joker, quite manic but different from Jack Nicholson or Heath Ledger.

Amongst the other members of the suicide squad are The Crocodile Killer, The Flash, Boomerang, an Australian robber, and several minor characters who are led by Rick Flag, played by Joel Kinnaman. While he is appointed by Amanda Waller, he and she have a personal interest in the enemy, especially his girlfriend June, Cara Delevingne, who is transformed into The Enchantress, working with her sinister brother to take over the city.

The film relies a great deal on stunts and action, lots of fighting, lots. The film also relies on the make up of several of the characters, the tantalising girlie look and behaviour of Harley Quinn, the scales of the Crocodile Killer, and a moment of fire display from The Flash. As to be expected, there is a lot of deadpan dialogue.

Which means that Viola Davis as Amanda Waller is a very serious presence in what is often very flip film.

The big box office success reminds us that there are a lot of fans out there while the non-fans are going to see something else.

1. The popularity of DC comics? The characters, situations, superheroes, villains? Batman and Superman?

2. The idea for this story, a Dirty Dozen collaboration, a mission, to destroy the enemy?

3. The work of the writer-director, interest in tough characters, conflicts? The idea for the story, the city, the attack, the threat to the population, the need for confrontation? The role of Batman with the villains? Amanda Waller in charge? Her idea? The threats, her encounters with the Enchantress? Her brother? Bound for destruction?

4. The visuals, the characters, make up, locations, dark and bizarre?

5. The action, gunwielding, the collaboration in fights, strategies? The enemies?

6. Amanda Waller, her official advisors, the dangers, her idea, the meetings, the discussions with the villains? Stances? Promises? The deals? Their working together, his supervising? Her reliance on Rick Flag? His relationship with the Enchantress? His needs? Her being overcome, the surviving – in the final meeting and the fulfilment of the deals?

7. Rick Flag, his background, leader, military, as a person, his relationship with June, the collaboration with the villains? Decision-making?

8. Will Smith as Deadshot, his background, assassinations, his guns and accuracy? Arrested, exercising and boxing, in the cell, the taunting of the guards, his memories, his love for his daughter, his being taken? The deal to be with his daughter?

9. Harley Quinn, Margot Robbie, in prison, her bizarre behaviour, manner of speaking, appearance? Her flashbacks, as a psychologist, the encounters with the Joker, their sessions, falling in love, diving into the vat, his rescuing her, her transformation? Girly and giggling, flirtatious? Her look, talk, memories of the Joker? Her involvement, disappearance and reappearance?

10. The Joker, audience knowledge of him from previous films, his appearance, Jared Leto and his presence, gaunt, clothes, face and make up, laugh? His associates? The experience with the psychologist, rescuing her, transforming her to Harley Quinn? His activities, hostility, coming to the rescue? His future with her?

11. The Crocodile Man, his appearance, reticent, going into action?

12. Boomerang, Australian background, robbing the banks, the diamonds, his arrest, his accent, his skills, cheeky?

13. The Flash, age, experience, with the group, his activities, reticence, his fire exhibition and contribution to the attack?

14. The Asian girl, her activities, collaboration? The other creatures in villains and their activities?

15. June, transformed into the Enchantress, her brother, seeming normal, his transformation?

16. The Enchantress, June taken over, two persons, confrontation, Rick Flag, for destruction – and June reappearing?

17. The focus on the population, their fears, escaping, the dangers? The role of the mission?

18. The credit sequence – in the future discussions, Batman and Amanda Waller?