MUSTANG

France/Germany/Turkey, 2015, 97 minutes, Colour.
Gunes Sensoy.
Directed by Deniz Gamze Erguven.

Mustang is an arresting title for a film – the image of the wild young horse which needs bridling and training. This means that Mustang is a symbolic title for this film, for five comparatively wild young sisters and the particular discipline that is imposed on them in their traditional household in northern Turkey.

This is a first film from a young Turkish-born director who has been living in France. With French and German money, she has filmed her story in Turkey itself and in Turkish.

A number of commentators have remarked on a similarity of plot with Sofia Coppola’s 1999 American story of five sisters and their strict parents, The Virgin Suicides. Future seminar organisers might screen the two films encouraging dialogue about family life, discipline, the aspirations of young women, presuppositions about how young girls should behave, especially from a conservative point of view.

The girls in this film have not appeared on screen before. They give very persuasive performances, lively at the opening of the film as the school holidays begin, they farewell a beloved teacher to Istanbul, go cavorting on the beach and in the water with a group of boys only to find themselves suspected of bad sexual behaviour, interrogated by their grandmother, punished and put under the control of their uncle. They are virtually imprisoned in the house, in their small rooms, sack -like dresses made for them and discipline being imposed on them – although, surprisingly, they do get out one day and catch the bus with young people all going to a football match.

The tradition in the house and in the village is very much that young girls must be controlled, that chastity is the overriding virtue, especially in view of their being virgins when they are married. As the film progresses, it is clear that this is the destiny for each of the girls in turn. One is able to marry someone she loves but the second daughter suffers an arranged marriage, its interrogations, formalities, and medical inspections about virginity.

There is a brief commentary every so often but this comes from the youngest girl, Lale, sometimes full of mischief, sometimes cheeky, but becoming more and more critical of the confined life of herself and her sisters. She does take some initiatives, including persuading a young man with a truck who has helped her and her sisters catch the football bus to teach her how to drive. He plays a crucial role in the resolution of the situation for the remaining two sisters.

The grandmother is severe but that is how she has been brought up and carries on traditions. the girls’ uncle, is typical enough of the authoritarian men in the town, but he is also seen going into the rooms at night of some of the sisters.

Depending on cultures, audiences will have varied perspectives on the girls themselves, their desired freedom, the impositions of their traditions. While the film is set in northern Turkey, there is no explicit mention of Islam, no quotes from the Koran, life being rather secular in terms of religious practice.

The film was one of the Oscar nominees for Foreign Language Films in 2015.

1. The title? The image for the young girls?

2. The director and her background in France? German finance? The film made in Turkey and in Turkish? Contemporary Turkish society? Conservative towns, women and their place, restrictive? The male perspective? The older women complying? The male comments about feminism? The outlook on the world – and the information and trends coming on the media, especially television?

3. The visuals of the Turkish town, the mountains surrounding, the Black Sea coast, the roads and highways, homes, neighbours? The details of ordinary life, sports matches, the traffic?

4. The narrative by Lale? Her perspective on herself, on her sisters, on the situations?

5. The introduction to the girls, end of school, uniforms, their attitudes, playful, the farewell to the loved teacher, especially for Lale? The decision to walk, along the beach, going into the water, playful, the boys, going into the orchard, taking the apples, their being warned off?

6. Arriving home, the grandmother with the neighbour’s gossip and report, with each of the girls in the room, punishing each? The reactions? Audience sympathy?

7. The uncle, his stern attitudes towards the girls, his deference to his mother? Their dead parents, their situation, expectations of them?

8. The girls being confined, the rooms, meals, the dresses looking like sacks, being locked away, eventually having bars on the windows?

9. The focus on chastity, the girls’ behaviour at the beach with the boys and their being criticised for sexual behaviour? Doctors and examinations for virginity? Male expectations for chaste wives? The older women fostering this? The effect on the girls?

10. The football matches, the decision to get out, finding Yasin and his truck, getting on board, chasing the bus, the exuberance in going to the match, their being seen on television, the aunt smashing the TV connection and the generator outside? Their quiet return?

11. Lale, leadership, cheeky, misbehaving?

12. The boy, the sign on the road and his love for Sonay? Selma, the preparation marriage, interrogations, ceremony? The contrast with Selma, the choice of her husband, his family, formalities, interviews, the ceremony, not Selma’s choice? The honeymoon? Her being sent for examination by the doctor, her promiscuous remark, her still being a
virgin?

13. The outing with the uncle, not staying in the car, the sister in the car, letting the boy come in, the sexual encounter?

14. The girl, reprimands – and her going out, killing herself? The sadness of the funeral?

15. Yasin, Lale and her decision to run away, talking, issues, return home, her later asking him to teach her to drive, her enjoyment of the experience?

16. The severity of the uncle, going to the girls’ rooms, abuse and audience attitudes towards him?

17. Nur, the plan for her to marry, the interviews, her being dressed as a bride, Lale and her helping her make decisions? To leave the party? Barricaded in the house?

18. Lale, altering her hair, making the doll and leaving it in the bed, taking the money, the two getting out, the uncle’s car keys, taking the car, phoning Yusin, waiting for him to come, his taking them to the bus station?

19. The trip to Istanbul, waking up, the address, going to the house of the teacher, their being welcomed?

20. The effect of this experience, audience response to the treatment of women, inferior, arranged marriages, sexual abuse, physical punishment?

21. The perspective of the people in the village from cultural traditions – with no explicit mention of Islam or the Koran?

CARS

US, 2005, 116 minutes, Colour.
Voices of: Owen Wilson, Paul Newman, Bonnie Hunt, Larry the Cable Guy, Tony Shalhoub, Cheech Marin, Michael Wallis, George Carlin, Paul Dooley, Jenifer Lewis, Michael Keaton, Katherine Helmond, John Ratzenberger, Joe Hanft.
Directed by John Lasseter, Joe Hanft.

This animated feature comes from Pixar, the studio who has had continued success since the mid-1990s with the Toy Story films, A Bug’s Life, Monsters Inc, Finding Nemo and The Incredibles. Some critics have complained that it is not as effective as the previous Pixar films, but the high US box-office indicates that it was popular.

For the first twenty minutes, I found I was not particularly enjoying Cars. Perhaps it was the world of racing cars that didn’t appeal. Perhaps it was the way that the cars were drawn, the attempt to humanise the cars. (As a matter of fact, there are no humans at all in the whole film; the crowds for the races are all cars!) I am not sure at which stage or even why I found I was enjoying the film but, by the end, I was liking it very much.

The drawing and computerisation of the cars and their action is quite extraordinary. As with the action sequences in The Incredibles, the editing and pace are what you have in a live-action movie and you forget for the moment that you are watching cartoon characters and action.

As with all Pixar films, there is a moral to learn.

Owen Wilson provides the engagingly drawling voice for Lightning Mc Queen whose ambition it is to win the Piston Cup. He finds himself lost in Radiator Springs where the townscars eventually make him welcome, where he finds true love and self-sacrifice and discovers a veteran champion, Doc Hudson (with Paul Newman’s gruff voice). His stay in Radiator Springs with the eccentric old cars in a rundown town bypassed by the freeways is entertaining. The desert and mountain scenery is quite magnificent.

But managers and the media catch up with Lightning and he has to make decisions about the race, his mean-spirited rival (voiced by Michael Keaton) and a heroic act of generosity. Selflessness wins the day.

Younger audiences might find this a bit long and, with its focus on racing cars, not so engaging. On the other hand, parents will probably enjoy it more, the human-like cars and the voices of such talented actors as Paul Newman and Owen Wilson. As with all Pixar films, you should stay for the humorous credits with the characters from so many other Pixar films.

1. The popularity of Pixar films? Reputation? Imagination? Awards?

2. The animation style, computerised? The cars as human beings, faces, voices, actions? The crowds watching the races? Audience amusement? The voice cast?

3. The Piston cup, the three-way, Weathers, Hicks, Lightnig Mc Queen, the race, their personalities?

4. Lightning Mc Queen as the central character, his hopes, to win as a rookie, the sponsorship of Rust -Eze, the prestige of the Dinco team? His crisis, the truck, sleeping, gang on the road, the traffic, in Radiator Springs, his ruining the road?

5. Lightning in court, Doc Hudson, his age, experience, past career? Dim view of Lightning, making him re-pave the road, initial lack of success, doing it over? Mater and his being friendly in prison? Sally and her defence?

6. Making the range of friends in Radiator Springs, the different kinds of vehicle, their look, trucks, tractors? The voices? Route 66 and the banishing of Radiator Springs?

7. Doc, his character, his past success, being past it?

8. The media arriving in town, Doc calling them, his motivation, wanting to promote himself? Sally, reaction, care for Lightning? Lightning leaving?

9. The new race, Doc and the people working for Lightning in the pits, his range of techniques? Hicks, mean-minded, pushing Weather? Hicks winning? Lightning pulling up, going over to Weathers, pushing him over the line? Everybody praising Lightning for his being a good sport?

10. The offer from Dinco, his refusal, his making his headquarters in Radiator Springs? Happy ending?

11. Audiences enjoying the credits with all the Pixar characters and voices?

WAKING LIFE

US, 2001, 101 minutes, Colour.
Ethan Hawke, Julie Delpy, Richard Linklater.
Directed by Richard Linklater.

Over many decades Richard Linklater has written and directed a great variety of films, beginning with Dazed and Confused and the slacker culture, moving into more reflective films especially like Waking Life. He has used an animation style, the visuals of the characters resembling the actors who voice the characters – which can be recognised especially with Ethan Hawke and Julie Delpy and memories of the Before Sunrise and Before Sunset films.

While the film has a brief running time, it is packed with characters and incidents – but, more importantly, a combination of visuals and philosophical talk. It is too much to take in at one sitting, probably better viewed in small pieces, the way that it has been written and filmed.

There is a great deal of existential reflection. There is a great deal of reflection about the universe, creation and sustaining creation. The young man at the centre of the film, a 21st-century Everyman, seems to be dreaming but is also awake in his dreams, asking questions of everybody that he meets, hearing a myriad of replies, exploring the realities of existence and American living.

The characters in conversations can be very academic, they can also be quite realistic. Ultimately, there are also questions of art, religion and the interrelationships, especially about the religious dimension of films.

Richard Linklater was to continue with a wide range of films – but, especially, his project filmed over 12 years with the development of a boy to his adolescence, Boyhood.

1. The impact of the film? Animation? Voices? Philosophical ideas?

2. The title, life, life experience? The young man asleep, his dreams – his waking life?

3. The animation, characters, action, colour and style, the flow? The voice cast? The range of the musical score?

4. The prologue, the little boy and girl, numbers and puzzles?

5. On the train, the central character, a young Everyman, his dreams, the music and the practice of the school, his arrival, the lift from the man with the boat, on the street, the note, then hit by the car, in the house, breakfast? His going on his walk and meeting so many characters? The levitation view over the city and its recurrence?

6. The range of characters: the man driving the boat, crayons and colouring beyond the box, departures and arrivals? Being somewhere? The course of life?

7. The lecturer, existentialism in the 21st century, themes of hope and despair? Quotations from Jean-Paul? Sartre, years of creation, forces and fragments, implications of the soul equalling reality and action? Never write ourselves off? We are made of our own decisions?

8. The girl, the talk, language, transcending isolation, issues of frustration, anger, love, the brain and memories? Words as mere symbols? Connecting as a spiritual communion?

9. The discussion of evolution, of everything, biology, anthropology, culture? Over the years and the telescoping of evolutionary time? 21st century and seeing it in small telescope development? Digital, analogue, neuro-biology? Neo-human? New consciousness leading to purchase of truth, loyalty?

10. The man on the street, walking, filling his car, themes of chaos and dread, the role of the media, highlighting tragedies, wanting us to accept peoples? People as passive observers? Voting? For puppets on the right, on the left? Setting himself alight?

11. The couple in bed, memories of an old lady, waking life? Timothy Leary, the brain living on for 12 minutes? The role of dreams? Existing and other minds? Issues of reincarnation, a world with newer souls, population increase? Reincarnation as a political expression of collective memory? The leaps of science and art? And crosswords – and the answer is available, by telepathy?

12. The prison, coloured red, themes of torture and pain, the coarse language?

13. The discussion of free will, Aristotle, Augustine, Aquinas? God and foreknowledge? Laws and systems? The percentage of water – the image of the individual in water? Omniscience and freedom? The history anecdote? We are our free choices? The brain and the transition of decisions to muscles? Electrical laws? The initial Big Bang – and everything else according to the laws of physics? Probabilism versus determinism?

14. The driver, the microphone, going red, denouncing dehumanisation, systems of control, human conditioning? The 21st century not a century of slavery?

15. The old professor, saying yes to all of existence?

16. The black man, liminal experience, norms, the cosmos and paradoxes?

17. The two women, getting older, 30s and becoming more human, endless curiosity? The photo, the stories composed to give us identity? Human cells changing every seven years and yet we retain identity?

18. The monkey showing the film, noise and silence, human doubt, negating the old, creating the new? Art – and to begin again?

19. Talk of suffering, the man in the bar, lack of life too much like the suffering? The gap between geniuses and ordinary people, greater than that between chimpanzees and ordinary people? How to achieve potential? The fear of laziness?

20. The man writing the novel, no story, only people and moments? Whether the writer was in the story or not?

21. The bar, the last stop before Las Vegas? The noise, the tires, the ban on packing the tires? The shirtless man with the knife? The man at the cash register, the gun, firing, the value of carrying the gun – resulting in the mutual shooting?

22. The phone and the dream, the young man and television surfing, the range of programs, shamans? The lucid dream state, discovering the relationship to the universe and to selves?

23. The church, dreams, mind and body, the two states of consciousness, perceptual images, neurons and sleep, working perception and action?

24. Asleep in life, life is a waiting room? The man with the guitar, singing? Combining the infinite possibility of dreams with waking life? Dreams are free – life for a minimum wage?

25. The recovery of lucid dreams, controlling the dreams, the words of the Guru? Recognising the dream, sleepwalking and wake walking through dreams? Testing by hitting the light switch? On or off, 360 vision in a dream?

26. The Holy Moment? The theatre, the screen? The discussion about film? The literature, the value of story? Recounting the story, film is specific, the imagination is free? Andre Bazin, the Christian God and the reality of God? The film and God manifesting, God incarnate in film? Film a record of the changing face of God? The role of Hollywood? François Truffaut? The best scripts do not mean the best films? The look, the eyes and silence, the two heads forming clouds?

27. The four walkers, the young men, discussing society, destruction, ideology? Contrasting the is with the could be? The black man on the light pole? Action and no theory? Or the opposite, no action and/or theory?

28. The theme of suicide, drink and the devil?

29. The train carriages, dreaming that we are dead? The probing of the planets, artist excitement?

30. The two teens, the industry landscapes? Human or not?

31. The lamplight, the redhead, jostling, auto-pilot for survival? The young woman, wanting life, vivid life, the life of an ant? The confrontation between souls, according to D.H. Lawrence? Life is soap opera, living action, seeing what we want to see, asking what it is like to be a character in a dream? Dealing with a lot of people with ideas? The quality of the environment and experience? So much information imparted? Passive receiving?

32. The train, music, the bridge, the man with the curly hair? All co-authors? Alienation is exciting, participation in life more than in 100 novels – Thomas Mann? Jeanette Giacometti and his accident? The nature of self awareness?

33. The night office lights, the dream in the parking lot, we dream it as an image, a mental model? The girl at the payphone, not remembering the young man? The discussion about Billy Wilder, and Louis Malle, his dream film, losing 2 ½ million dollars?

34. Life continuing in a post portal state?

35. The supermarket, recognising the man with the boat , his not recognising? Suggestion of a parallel universe? Returning from the valley of death – and the microwaving of the burritos?

36. The older woman, life reaching, magical moments, connecting is all that matters?

37. The garden, the painter, the old lady, the arch and defence, the artist at his portrait?

38. Last words, sweep me up, the city of the night, the streets, piano, dancing?

39. The pinball alley, again the question about the man with the boat car? The discussion about false awakenings? Continued waking into yet another dream?

40. Thinking we are dead, the man at the pinball, his story about Philip K Dick, the woman and her boyfriend, the police all having the same names as in the book? Philip Dick listening to them? Dick, the issue of money, going to the gas station?

41. The discussion about the priest, Philip Dick’s story as in the book of Acts of the apostles, 50 A.D.? The allusion to time, all happening in 50 A.D.? Gnosticism, the Demon, illusion, waiting for the second coming? The dream, psychic, levitating? The discussion about Lady Gregory, the explanation of her life, her talk about the universe – and not 50 A.D.? It is now: eternity?

42. Time is the invitation to eternity? We say “not yet”, 50 A.D., not now in 2001? Life is from no to yes? The journey to embrace? Dog, dead, whose, smelly…?

43. Life is not a dream but a visitation? Being trapped in the dream? “Just wake up”?

44. The day, the city, the walk, the house, the car, shaking, levitating – into the sky and disappearing? Into heaven?

MR RIGHT

US, 2015, 90 minutes, Colour.
Sam Rockwell, Anna Kendrick, Tim Roth, James Ransone, Anson Mount, Michael Eklund, Katie Nehra. RZA.
Directed by Paco Cabes.

If you thought this title sounded like a romantic comedy, you would be correct – but not entirely. Once you get into the film, you will see that the title has more than a touch of irony concerning the alleged Mr Right.

The writer of this film screenplay, Max Landis, has a weird sense of humour (the amoral characters of American Ultra, Chroncile) when characters have strong moral code but it is not exactly the moral code that the audience would subscribe to.

Sam Rockwell has played enough oddball characters in his career so he has no difficulty in playing Francis, a pleasant enough character to meet at first glance, but in fact, a former CIA assassin, excluded from his job, but he has had something of a conversion! He now disapproves of the morality of those who hire him for hits – and he executes them.

The person who is looking for Mr Right is Martha, played by Anna Kendrick, disappointed in a faithless boyfriend, accidentally meeting Mr Right in a supermarket and their both falling in love.

What is she to do when she finds out what he really does? It doesn’t take long when he excuses himself and goes to talk with another man on a bridge and then shoots him. Martha goes into shock.

Then Mr Right ‘s CIA minder, Hopper, turns up in pursuit. He is played by Tim Roth who at any other time might have taken on the character of Francis himself. They are an odd couple.

While the infatuation and the romance between Francis and Martha continue, there are even more tangles when a group of thugs in New Orleans want to get rid of Francis, two rival brothers, a group of heavily armed gangsters, Martha being abducted, and Francis coming to the rescue though, at one moment, shackled to Hopper.

The dialogue is often flip, the material of spoof, so that the central characters have a cheerfulness about them despite all the odds .Lucky that Francis is so adept with guns and with some martial arts.

There is a happy ever after ending in North Vietnam – with both Francis and Martha contentedly getting the better of would-be assassins.

1. The title? Irony? Romance incorporating an assassin story?

2. The New Orleans setting, apartments and clubs, hotels, criminal backgrounds? The situations for the killings? The musical score?

3. The introduction, the children, their stating their ambitions? Especially Martha – and exuberant?

4. Martha, erratic, her friendship with Sophie, preparing the dinner, her boyfriend and his sexual betrayal and rationalisations? Drinking, going into the cupboard? Sophie getting her out? Going out on the town? The supermarket, the glimpse of Francis? The falling of the condoms? Love at first sight?

5. Francis, his age, look, at the hotel, shooting the woman who hired him? The pursuit, the agents, the wedding reception room, the smashing? Hopper, his squad, listening to the results? Set up for tracking down Francis?

6. Francis and Martha together, falling in love, she with her ditzy manner, he falling truly in love? Going out, his going to work, the encounter on the bridge, the shooting, her shock? Her being petrified? Francis, his explanation, his moral stances after his being a celebrated hitman? To kill those who hired him because that was wrong? Hopper, his explanations to Martha? Staying to protect her?

7. Francis and Martha, their talk, the explanations? His cheerful attitude – and his always wearing the red nose?

8. The gangsters, the plan to kill Francis? Stephen and the old-fashioned gun, wounding Francis in the hand? The brothers, the associates? The plans and the attack?

9. The guns, the confrontation, Francis and his fighting skills, quick with a gun, gymnastics, martial arts? His hand being wounded? His skill in shooting? Martha and her abduction?

10. The character of Hopper, the background, his searching for Francis? The old CIA agent? The two and their fights?

11. Martha, mouth taped, Von and Johnny, holding her hostage? Her laughing at them, the taunts?

12. Francis, his arrival, the guns, his being quick, the touch of the playful? The other thugs, deaths? Von and the rivalry with Richie, brothers’ issues? Richie’s death? Martha, the confrontation with Von, shooting him, killing John with a statue?

13. Francis and Hopper, handcuffs, Francis shooting and being free? Steve killing Hopper? The bounty and the money? Steve giving Francis and Martha a lift?

14. The couple in North Vietnam, the assassin with the gun, Francis and his note on the tray:

15. Tongue-in-cheek, ironic, satiric – but the genuine romance?

MILES AHEAD

US, 2015, 100 minutes, Colour.
Don Cheadle, Ewan Mc Gregor, Emayatzy Corinealdi, Michael Stuhlbarg, Keith Stanfield.
Directed by Don Cheadle.
Those who love jazz and have a great admiration for the master musicians of the 20th century will have a great esteem for trumpeter, Miles Davis. This is a portrait of Davis.

The film was co-written, directed and performed by celebrated actor of film and television, Don Cheadle (Hotel Rwanda, House of Lies). He certainly has invested a great deal of energy in this film.

However, the film is something of a mixed blessing. Audiences will emerge from the film admiring Davis and his capacity for playing but with rather a negative response to him as a person and his personality.

The screenplay is quite a mixture. it opens in the late 1970s, the end of a period where Davis had absented himself from performance and from recording, for about five years. Everybody was hoping that he was planning a comeback. To look at him, rather gaunt and ravaged, Afro hair, a man who is dependent on drugs, this introduction to him is not promising. Then a writer turns up at his door, a Scotsman (Ewan Mc Gregor) who claims he is writing for Rolling Stone and wants an exclusive. He inveigles himself into Davis’s house and then into his confidence. This character , Dave, is a fictitious character, the contrivance for the portrait.

He and Davis go to see the bosses at Columbia records but Davis has tantrums, wants money, badmouths the executors and, on the way back to his apartment, is taken by Dave to a drug dealer to get cocaine which they indulge in while a group of people are partying upstairs. Dave intends to steal the demonstration tape the Davis had made but another go-getter takes it.

While the sequences are happening in the present, there are many, many flashbacks inserted into the film. Davis goes back into his past, his career, his playing, his successful records, working in clubs – though harassed by police on the beat and thrown into prison. He remembers Francis, first seeing her, giving her his phone number, going to see her as a dancer in rehearsal, proposing, wanting her to give up her career, a long marriage sequence, his growing obsessions and suspicions, her escaping.

There are also drug memories.

So, Davis comes across as a fairly unpleasant person in himself, in his dealings with his wife, in his clashes with others. But, at the same time, his skill with performance, with annotating musical scores, his records indicate his great talent.

The builder before his comeback has Davis and Dave tracking down the young trumpeter, admiring him, getting him to lead them to the man who has stolen the demonstration tape.

The final credits have a very long list of Davis compositions excerpts of which are played throughout the film, from Davis’s own recordings. During the final credits there is a rather long jazz jamming session with Davis and other musicians including Herbie Hancock.

This is the kind of story which raises issues of how someone who is rather unpleasant, even obnoxious, can be gifted with such a great talent.

1. Audience knowledge of Miles Davis, interest in him? Music, his life, his character? The film providing scenes for all these aspects?

2. The work of Don Cheadle, his input, performance, direction, compositions?

3. Miles Davis’ music, played throughout the film, the selection, the final credits and the performance?

4. The screenplay, the late 1970s, his five years absence from performance and recording, his appearance, the afro, ravaged face, the drugs, contracts, his arrogance?

5. David, the Scot, writer, his wanting an interview, the lies about Rolling Stone? Getting into the house, Miles outside? David letting him in, the confrontation, the gun? Going to
Columbia Records? David driving, the meeting with the executives, the gun, their self defence, Miles and his reaction, tantrums, wanting money, the issue of the tape? The meeting with Harper and Junior?

6. Returning back, stopping to buy the drugs, the dealer and his girlfriend, young, his stash, the price, Miles and his money? The gun? Autographing the record covers? Taking the one with Francis? Arriving home, the party, the drugs, the booze? With David? David intending to steal the record? Harper and his taking it? Miles’ reaction?

7. The suggestions of the past, the flashbacks, the way they were edited in, touches of memory? Francis, the jacket, Miles imagining her presence, seeing her at her house, the phone number on the $20 bill, going to see her dance, charmed, their time together, her career and tour, his asking her to give it up, her shock, giving it up, marriage, the detail of the wedding sequence? Her going to the jail when he was arrested? His becoming obsessive, violent, suspicions of a man in the house? Francis playing up to him but escaping?

8. Miles’ career, reputation, the 50s to the 70s, playing, the clubs, the recordings? The harassment by the police, in jail?

9. Drugs, the memories, his dependence?

10. His music, performance, composing, the music to Francis dancing? Discussions with the conductor, performance?

11. The pursuit of Harper, going to the club, listening to Junior play, getting him to help, his wife and baby, giving away the tape?

12. The background of the boxing, Davis and his interest in fights, David and his sparring? Going to the fight, surreal? The boxes, Miles playing, the disturbance, the crowds? The car pursuit of the danger, the gunshots?

13. His comeback, the performance during the final credits?

14. How satisfying a film on Miles Davis, his music, career, Davis is a person?

CENTRAL INTELLIGENCE

US, 2016, 114 minutes, Colour.
Dwayne Johnson, Kevin Hart, Danielle Nicolette, Jason Bateman, Aaron Paul, Dylan Boyer, Thomas Gretchen.
Directed by Rawson Marshall Thurber.

At times the audience might wonder about how much intelligence there is in this film. There is quite a lot of spoof, sendup of CIA agents and activities, and quite a lot of amusing dialogue and repartee, especially for film buffs and references to films and film stars (often at Kevin Hart’s expense, as a half pint Denzel or as a black Will Smith!).

This is an amusing buddy movie for a Night out, not for research on American methods of maintaining national security.For critics who are of a more serious frame of mind, it might be seen as enjoyably entertaining, a guilty pleasure.

The opening is in 1996 at Central High in Maryland, where Kevin Hart plays Calvin, The Golden captured, the top sportsmen, the top personality, the student who is most likely to succeed. On the other hand there is the over-large Bob, bullied by the smart students and humiliated during the final assembly, everybody laughing at him, dragged in naked from the shower, Calvin offering him a coat to save him further embarrassment.

Then it is 20 years on with Calvin not having achieved what he might have, an accountant in and office, looked over for promotion, but happily married to his high school sweetheart. Kevin Hart is sometimes an acquired taste but, after his performance in The Wedding Ringer, and despite About Last Night, this reviewer found his sometimes manic performance quite enjoyable. Into his life comes Bob, Dwayne Johnson, larger-than-life, not the Bob that everybody remembers from those school days.

Bob has a great admiration for Calvin, grateful for his intervention in the past, and goes out for a drink with him, defends him against toughs in a bar, takes in on a bike ride, want some help with computer data and then bunks down for the night at Calvin’s. So far, so puzzling for Calvin – but, worse, when agent Harris and her men turn up at his front door looking for Bob who is considered a traitor to his country. Then a mad pursuit begins.

Calvin wants out. Bob, ever genial, tells him he is in. In an amusing scene, Calvin turns up for marriage therapy with his wife only to find that Bob has taken the psychologist’s place and there is some spoof about intense therapy. In order to get more information from a computer, Calvin takes him to see Trevor, the leader of the bullies of the past. He is played by Jason Bateman showing that he could have been cast as one of the Horrible Bosses.

It gets rather complicated, especially for Calvin, and he and the audience are not too sure at times whether Bob is a traitor. But, after Bob hijacks a small plane to fly from Maryland to Boston, there is a showdown, the selling of data to a foreign power, the unmasking of the traitor whose nickname is The Black Badger.

It is the night for the 20th reunion for the class of 96, Calvin not wanting to go because he feels he hasn’t achieved enough, but Bob getting there on time and Bob becoming the centre of attention, even of Melissa McCarthy? in a welcome cameo.

And, as if you didn’t know, Calvin finds that his career as a CIA agent would be much more fulfilling than being an accountant.


1. A buddy and espionage film?

2. The title, the high school, the CIA – and exhibitions of intelligence?

3. Smart plot, the dialogue, the references, the movies?

4. 1996, High School, the transition to 2016, the accountancy office, the world of secret agents?

5. Action sequences, espionage, fights, chases, shooting, climax in Boston? The stunt work?

6. The cast, the two comedians, humour, the big and small, black and the Samoan?

7. Initial setting, 1996, Bob in the shower, dancing, the bullies mocking him, Trevor and his leadership, dragging him naked into the auditorium, everybody laughing at him? Calvin as being the hero, the words of the principal – Calvin giving Bob the jacket to save further embarrassment?

8. Calvin and his sweetheart, getting married, not having any children? Good at his job? The other members of the staff, the leering man – and his later being tasered by Harris? The staff, the promotion, lunch, his lack of prospects? Talking with his wife and bad comparisons?

9. The prospect of the reunion, his being unwilling to go, his wife and her dress, the discussions?

10. Calvin meeting Bob, Bob’s appearance, and jovial, jokes, in the bar, the drink, punching the attackers, ride on the motorbike, going home, Bob coming in, the computer, spilling the drink, his staying the night, sleeping, his ability to disappear immediately?

11. The CIA, Harris and her men, at the door, the guns, Bob gone, Calvin as Bob’s reference in his documents? The question of The Black Badger, the codes, selling them, the identity of the traitor, Bob under suspicion from the CIA and their pursuing him?

12. Bob, taking Calvin for granted, wanting him in when Calvin wanted out? The effect on Calvin, the dangers, shooting, the escapes, Calvin betraying Bob? Bob taken, tortured? Calvin getting him out?

13. Dr Dan, the session, the humour about therapy, word association, looking into the soul through the eyes? The real doctor in the cupboard?

14. The visit to Trevor, his memories of the past, talking about his conversion, his mockery? But giving the code information?

15. Suspicions of Bob, the flashback to his partner and his death? Harris and the accusations? Calvin thinking that Harris was the traitor?

16. Code, getting the location, taking the plane, the snake in the box, the warning sign, Bob talking to Calvin about his final wish – and wanting children? Landing?

17. On guard, the underground car park, criminals, the sale, the partner and his not being dead, the two drives on the floor, Calvin deciding to get them? His leaping – and falling on his face? Bob and his partner, the two guns, Bob being shot? The partner, his confession? Calvin tricking him and Bob overcoming him?

18. Getting to the reunion, Bob as the king, his speech, Trevor present, the strip, Melissa McCarthy? and the comic romantic scene?

19. Calvin’s wife, pregnant, Bob at the car and Calvin becoming a CIA agent?

BACKTRACK

Australia, 2015, 90 minutes, Colour.
Adrien Brody, Sam Neill, George Sheftsov, Robin Mc Leavy, Bruce Spence, Jenni Baird, Anna Lise Phillips, Chloe Bayliss, Malcolm Kennard.
Directed by Michael Petroni.

Backtrack is a small but enjoyably interesting ghost story. It does not begin immediately as ghost story but suggests a disturbed and disturbing atmosphere.

In an interesting piece of casting for an Australian film, Adrien Brody portrays Peter Bower, a psychiatrist working in Melbourne, reassuring his wife after frightening dreams, meeting a group of clients (including veteran actor Bruce Spence) who exhibit bizarre behaviour, seeming to have lost their memory, and trapped in a particular date, 12 July 1987. Peter finds this so disturbing that he seeks out his former mentor, Duncan, Sam Neill, at Melbourne University, puzzled because all these clients have been referred to him by Duncan.

When Peter starts investigating information about his clients, especially where they come from, west of Melbourne, he studies a map and finds it leads to a town called False Creek where he grew up.

Perhaps it should have been said earlier that this is a film about trains and should have a great appeal to train watchers and train spotters. The suburban Melbourne trains. the frequent travelling past, noisily, the windows of Peter’s office. He goes by train up to False Creek and we discover a whole back story including trains, bikes on rails, signal movements, and a deadly crash.

Peter stays with his father, George Shentsov. Peter is not close to him and has some bad memories of his poor parenting. Peter also looks up an old school friend and surfaces some old secrets. He also begins to have flashbacks, coming involved again in an incident with his friend and the disastrous consequences.

Peter’s daughter, Evie, had died in a car accident a year earlier and he is still grieving, cutting himself off from ordinary communication – and, in terms of the ghosts, opening himself up to the dead after her death and beginning to re—examine what had happened in his past. The testing of his conscience occurs in interviews with the local police officer, Robin Mc Leavy, the daughter of a woman who died in the crash, which leads to a dramatic denouement and the solving of the mystery.

When looking at mainstream ghost stories, many will be thinking about The Sixth Sense and other films which explored the interconnection between the living and the dead.

Backtrack is photographed quite atmospherically, many touches of darkness leading into the light. It is a ghost story worth telling.

1. The impact of the film drama, psychological study, mystery, ghost story? Retribution?

2. An Australian story, the initial locations in Melbourne, moving to the country, the country town and the surroundings?

3. The location photography, from dark to bright? Melbourne and the offices? Rooms? Trains and trams? The University quadrangle and rooms? Musical score?

4. A film about trains, in the present, in the city of Melbourne, the trains going past outside rooms? Trip to the country? The train line? The trains in the past? The spectacle of
the derailment? The final retribution with the train and Peter’s father?

5. Adrien Brody as Peter Bower, introduction, waking, reassuring his wife after her bad dreams, Noises in the house? The memories of his daughter, her death, the memories of playing with her, the beach? His being upset, closing down emotionally? The discussions with Duncan, in the quadrangle, in his office? Duncan providing him with clients? The range of clients in the interviews, their loss of memory, their aggression, the range of people, the counselling visits to Peter? The focus on 12 July 1987? Peter being disturbed? His talking to Duncan – Duncan providing the clients and if they were ghosts, then what about Duncan? The empty chair?

6. Peter searching for documents, death certificates, everybody dead, the same day, the map, tracing the locations, west of Melbourne, Bacchus Marsh – the trail to False Creek?

7. His travelling to visit his father, his attitude towards his father, despising him, memories of the past, the father’s working in the garage? Peter going to see Barry, talking with him in the hotel, raising the case after they had made the promise not to, Barry and his anger, walking out – and his hanging himself?

8. Peter revisiting the scene, watching the past, the flashbacks, the boys with the bikes, prying on the couple in the car, hearing the train coming, Peter trying to get the bicycles off the track, the crash, his seeing the victims in the train? The ghosts?

9. Peter spending the night in his old room, looking through the box, the article about the train crash? His decision, going to the police, encountering Barbara and wanting to give her a statement?

10. Barbara, the mother dead in the train, Peter knowing the details about her accent and pet name for her daughter? After finding Barry’s body, his return to give further statement and confession?

11. Barbara, remembering the time, admiring Peter’s father, nice, and a motivation for becoming a policewoman?

12. Peter, tracing the events of the night, burning the newspaper but finding the information about the schoolgirl, her badge in the signal box? Barbara making the suggestion about Peter’s father’s behaviour?

13. Barbara, going to the Father, the accusation, his attack on her, putting her in the boot of the car?

14. Peter remembering, the girl, in the signal box, his father and the rape, putting her body in the train wreck?

15. The alternative to a train crashing, not because of bicycles on the track but because of the rape and the attack and the knocking of the signal?

16. The reason for the ghosts, Peter open to ghosts after the death of his daughter, her enabling him to reopen himself, guilt, responsibility, closure?

17. Peter, the confrontation with his father, the car? His father and the gun? The revelation of his father? Driving, the ghost on the road, his swerving crashing? On the rail track?

18. Peter, recovering, shooting to let Barbara out of the boot? For his father to get out of the car, the oncoming train and his death?

19. Peter on the beach, at peace about his daughter, with his wife, free to live their lives?

A PERFECT DAY

Spain, 2015, 104 minutes, Colour.
Benicio del Toro, Tim Robbins, Olga Kurylenko, Melanie Thierry, Fedja Stukan, Eldar Residovic, Sergi Lopez.
Directed by Fernando Leon de Aranoa.

One has to be wary about a film with “perfect” in the title. Unless it is a very optimistic, hope-filled film, “perfect” has to be interpreted with irony and/or cynicism. While this is certainly the case here, it has to be said that the ending is not without hope.

This is a Spanish production, filmed in English with an international cast, American, Russian, French, and actors from the Balkans. Setting is “somewhere in the Balkans” in 1995. It is already two decades since the ferocious civil battles in the Balkans, massacres and atrocities, Orthodox versus Muslims, neighbour versus neighbour, dwelling on centuries-old heritage and hostilities.

While watching this film in the second decade of the 21st-century, the comparisons between the Balkans and the contemporary civil war in Syria spring vividly to mind – and our feelings.

The day opens with American and French aid workers trying to lift a dead body out of a well so that the villagers will be able to get fresh water. The rope breaks. A great deal of the film is spent going to various venues in search for rope – but to little avail because of peace talks and prohibitive protocols coming into force.

But, travelling with the two cars for the aid workers, the audience is taken to a variety of places in the Balkans during that day and an enforced stranding overnight on a country road – a cow blocking the path and the suspicions that it has been mined, following a similar incident earlier in the day – with a solution to drive speedily over the cow to safety.

The group goes to a store but rope is not available, needed for executions. The group goes to an outpost flying the flag – but the young volunteer is afraid to take down the flag and give away the rope. Eventually, they come across a little boy whose ball is being taken by older bullies. He says he knows where they could get some rope, takes them to his bombed out home which leads to a mixture of tragic and comic events, the rope around a fierce dog, recovering the boy’s ball in the garage – but then the discovery of what has happened to his parents. The group also finds the road blocked by a group of soldiers with several men lined up for execution, to be shot, and the guards not taking any notice of the peace talks.

The leader of the group is played by Benicio del Toro, quite a sympathetic performance. HIs associate, a sardonic loner, is played by Tim Robbins. Along with them is a young French woman part of the aid workers team, Melanie Thierry. And then they are joined by an aid work supervisor, Olga Kurylenko, who finds herself accompanying the group and stranded overnight.

The protocols get even more severe in the second attempt to raise the dead body with the United Nations officials forbidding their work in the well.

The film has a very interesting ending. All the characters and all the situations, including rain and the dead body, are pictured in recapitulation of the whole film – and, all the while, Marlene Dietrich sings quite plaintively and symbolically, Where have all the flowers gone…?

1. The title, expectations? The ironies? The end resume of all the characters and episodes and the conclusion of a perfect day?

2. The 1995 setting, the Balkans, the Civil War, clashes, Serbs versus Muslims? The 1990s and the military conflicts, destructions of cities and villages? The presence of the United Nations? Local war, neighbour against neighbour, devastation, killings? The musical score? The atmospheric songs?

3. The action taking place over one day, the range of characters, the range of incidents, frustrations, drama? Aid workers, no solutions?

4. The well and the opening, the body, trying to lift it, falling back into the well, the recurring episodes at the well, the return at the end – and the irony of the rain and the body coming to the surface?

5. Mambru, Aid worker, American from Puerto Rico, authority, trying to raise the body, the rope breaking? His work with his interpreter, the good relationship, the friendship with B? Sophie new to the work? The situation of the body, the peace talks, laws and regulations, protocols about dealing with the body?

6. Sophie, new to the work, her French background? Accompanying B? The incident with the cow across the road, the potential for mines? Her reaction to B, his driving over the cow? Trying to help with the well? The search for rope? The kids, taking the ball from Nicola? Going to the house, her accompanying Mambru into the house, discovering the bodies hanging? Having to cope? The night on the road because of the next cow? The effect of the experience on her?

7. The arrival of the supervisor, her job, writing a report? In herself, the past affair with Mmabru, his concealing the fact of his girlfriend? The break? The supervising, the preparation of the report, going to the well, her attitude towards the protocols? Seeing Nicola? The cow on the road, waiting all night, the phone calls, the urgency for her to get back?

8. Mambru’s experience, the well and the body, collaborating with B, the rope breaking, going to the shop, the need for rope for executions, going to the post, the sentry and the flag, the need to keep the flag flying? Nicola, taking him to the house, the fierce dog, the rope around the dog? Putting the medicine into the meat to quell the dog? Going to house, finding the ball? The hanged parents? Mambru dealing with Sophie? Trying to get through, the convoy on the road, the men lined up for execution, discussions with the soldiers, telling them the peace talks were cancelling war activities, their not taking notice? The cow on the road, the discussions about how to get past? The cattle coming through, following the cattle and the women, getting through, mambru and the bigger boys with the ball, discovering Nicola had sold it? Mambru’s anger, giving Nicola the hundred dollars, on the condition that he travelled to find his parents with his grandfather? The return to raise the body, setting up the ropes? The UN officials stopping the raising of the body? The need for water – the sequence with the men selling the water to the locals and exploiting them?

9. B, his life, jokes, with Sophie, the cow and the mines, driving over the cow, his sexual preoccupations, loner, the second cow? Collaboration with Mambru? Getting lost in the mountains, their talk, look for their work, going home?

10. The translator, his character, working skills, not translating all the words, the guards on the road, threat to his brother?

11. Nicola, playing, the other boys, taking the ball, travelling with the group, wanting the ball from his house, the garage, getting the ball, selling it again, the money to visit his parents and Mambru’s $100?

12. The ending, the irony? The effect, the focus on all the characters, all the events, subsequent activity – and the busload of those were to be executed? And Marlene Dietrich singing Where have all the flowers gone?

THE WAILING/ GOKSUNG

Korea, 2016, 156 minutes, Colour.
Jun Kunikura, Hwang Jung-min.
Directed by Hong-jun Na.

For anyone on the lookout for exotically different Korean films, this is probably a must. The director has previously made two crime films, The Chaser as well as a film about gangsters in China and Korea, Yellow Sea.

For those who have seen these two films, they are not quite a preparation for this one. it should be said that to appreciate the background as well as what is going on, some knowledge of Korean traditions of ghosts and spirits would be very helpful. An awareness of the role of the shaman in Korean society would be another advantage. This is a ghost film.

It is also quite a long film, over 2 ½ hours. The audience is immersed in a rural village where someone has gone berserk and there are some brutal murders. These continue and there is concern as to what is the cause of this plague, doctors and hospitals focusing on some kind of toxin, many of the citizens suspicious of a demonic spirit. As the deaths continue, suspicion lands on a Japanese visitor who lives in his hut in the woods and is seen behaving in strange ways.

On the unexpected aspects of the film, however, is the narrowing focus on one of the local police who is left to do the investigations and seems to have all the responsibility himself – no going to higher ups. And the focus is even narrower when his beloved young daughter behaves in a most erratic way with a demon possessing her. The policeman’s mother-in-law seeks out a shaman (someone who has lived in Korea for a long time mentioned that the shaman is generally female in Korea). This man is rather mercenary, goes through a lot of rituals and one wonders by the end whether he has not been possessed.

The policeman is an unlikely lead for the story, a simple man, not as thin as he used to be, devoted to his wife, concerned about his daughter – and leading a group of men into the forest to investigate the hut of the Japanese man. This leads to a great deal of mayhem – and the film also introduces another spirit, a young woman in white. Who is the real Demon?

The film also has some Catholic interest concerning clergy in Korea, the introduction of the nephew of the assistant policeman, a deacon, doing pastoral work in the parish, clerically dressed, who accompanies the investigators to the Japanese visitor who is suspected of being the evil spirit incarnate. There is a momentary visit to the parish priest who, rather unctuously, says he cannot do anything.

The deacon is severely injured in an encounter with the spirit. Later he visits the Japanese man in his cave to confront him and be rid of him. The demon extends his hand which seems to have a Christ-wound in his hand. (The film had opened with a quotation from Luke 24: 37-40 with Jesus allaying fears that the disciples were seeing a ghost, explaining that a ghost does not have flesh and bones as he has – and he shows them his wounds). The film is one of Korean pessimism, death all round including the deacon conquered by the demon.

Not a mainstream entertainment film, but of interest about Korean culture.


1. The title, the tone?

2. The Koran settings, the town, the mountains and forests, the streets, houses, huts? The musical score?

3. The importance of Korean traditions about ghosts and spirits? Presence in possession? Rituals and resources? The role of the shaman? The different religions, the Buddhist tradition, Christianity and Catholic Korea? The deacon, the priest, the Catholic tone, the quotation from Luke’s Gospel, the image of the Japanese ghost with pierced hands?

4. The opening text, ghosts and incarnation?

5. Situation in the village, the deaths, the macabre visuals, the victims, the killers? The medicines, the food, toxins? The hospital? The spread, the plague, the pustules on people’s faces?

6. The police and the investigations, the transition to?????, his waking, house, his wife and mother-in-law, his daughter? At the periphery of the group yet being the local authority? His role in the investigations? Information, clumsy? The growing focus on him – and the audience not seeing any accountability to other authorities? Narrowing the drama to him, his daughter and family? age, his size, manner? Relationship with his wife, the sex in the car, the daughter coming to the window? Breakfast sequences? Love for his daughter, buying the comb? Love for his daughter?

7. The man in the forest, hunting, the animal, carrying it, falling down the cliff, seeing the Japanese man, chomping on the animal, his fears? The impact of the Japanese man?

8. The Japanese man, the story, seeming to be sinister, the visit to his home, the quiet, the rooms, the candle and the shrine, the photos, macabre? His watching? The attack, the fight, the later visits, the Japanese burning the photos? Suspicions? Their thinking he was a ghost?

9. The Catholic aspects, the policeman with his nephew deacon, clerical dress and collar, his accompanying the group to the house, his praying in the church, the discussions with the parish priest and his consciously withdrawing, present for the attack, his injuries, back in the village? His going to the cave, fighting Japanese man, the conflict of wills, his wanting the truth, seeing the pierced hand? The fire consuming him?

10. The daughter, the beginnings of bizarre behaviour, assessed, greedily eating, the injuries?

11. The mother-in-law, the consultation with the shaman, the mother? His arriving? His mercenary attitude, his case of implements, performing the rituals? The diagnosis, its effect? His leaving, the car, his box, the statue of the Buddha? Driving away? His alleged wrong diagnosis? In the presence of the girl, his vomiting? The critique of possession?

12. The policeman, experiences, become desperate, growing number of victims, interactions with the shaman?

13. The Japanese man, the pursuit, the zombie creature, the chase? The disappearance of the Japanese?

14. The policeman, seeing the girl, a ghost or not, his dilemmas, the phone calls, talking about the cook crowing three times, his indecision about leaving, the girl sitting on the road?

15. The twists of the plot, who was the diabolical presence, the girl or the Japanese man? The deacon in the cave and confrontation with the Japanese and the revelation of his diabolical presence?

16. The pessimism of the end and all the destruction?

THE COMPANY

US, 2003, 112 minutes, Colour.
Neve Campbell, Malcolm Mc Dowell, James Franco.
Directly by Robert Altman.

Robert Altman has an over 30 year reputation of making films that weave together many characters and stories so that by the end of his films, the audience has felt that it has entered into a particular world and got to know it very well, the environment, the situations, the crises. With that in mind, one can say that The Company is 'pure Altman.

Popular star Neve Campbell trained as a ballet dancer and took the outline of a ballet company story to producers who asked Barbara Turner (Georgia, Pollack) to collaborate and write a screenplay. Eventually Altman was intrigued - about the unfamiliar world of a ballet ensemble and its behind the scenes story and of how to put performance on screen using high digital photography. The Company is the result. It was made with the collaboration of the world-renowned Joffrey Ballet Company of Chicago, with the dancers, choreographers and the collaboration of co-founder in 1956, Gerald Arpino (on whom the character of the director in the film is based). Malcolm McDowell? snarls and 'baby's' everyone as the director.

Altman takes us into this world. We participate in training and rehearsal. We watch performances. We are taken into manager's offices and listen in to discussions, disputes, emotional tantrums, dictatorial and non-consulting decisions. We listen to the dancers speak, comment on their lives. We see the conditions in which some of them have to live (on a not so top salary).

The Joffrey does classical ballet but is interested in contemporary work and innovation. Neve Campbell herself dances a modern pas-de-deux, there are some glimpses of classical but the finale is a highly colourful, flamboyant take on Eastern religion and customs, The Blue Snake.

Even if ballet or contemporary dance are not your art forms, this is an interesting tour of the world of a dance company.

1. A ballet film, for aficianados, for the general public? The story of a ballet company? The ensemble, the personalities and dances, rehearsals, training, performance?

2. The work of Robert Altman, ensemble stories, reactive stories?

3. The Chicago setting, the city, the company, the theatre, interiors, stage, auditorium, dressing rooms? The location for the ballet world? The personal interactions?

4. The Chicago Joffrey company and its members participating in the film? The director based on the founder director of the company?

5. Style of photography, digital, the photography of the dancing?

6. The music, the range of the score, classics, contemporary?

7. The film with its documentary aspects, aspects of narrative, observing the company on behalf of the audience?

8. Antonelli, Malcolm Mc Dowell, his role, talent, the founding of the company, his age, love of art, acerbic comments, his style with each of the characters?

9. Neve Campbell as Ry, her role as producer, writer, her background as a dancer, her investment in the film, asking Altman to direct?

10. Ry as the focus of the story, her character and personality, the talent, the prospects and ambitions? In itself, relationships, the character of Josh, from a different world? Their interactions?

11. The choreographer, creating something new, his personality, interactions with the dancers? His prospects for the new work?

12. The background workers in the theatre, different functions, seeing them at work?

13. The audience, parents and mentors in the background, the exhilaration of performance?