TARFAYA

Morocco, 2002. 97 minutes, Colour.
Directed by Daoud Aoulad Syad.

Tarfaya is the name of an isolated port village where smugglers abound, people smugglers, who are not scrupulous about throwing unwanted passengers overboard. The police chief is weary and about to retire. Women stay at a hostel in transit. Into the town comes a young woman who has borrowed money to get her a passage to Spain.

But Tarfaya (like Casablanca in the past) is also a state of mind. It is a kind of dreaming of possibilities of making good in a land that promises a better way of life. It is also a dreaming that involves danger and risks.

The inhabitants can prey on the unwary. But, many of them are kind. The young woman experiences both: her bag and money are stolen by a seemingly genial helper (who later is attracted to her and wants to reform), her employer accuses her of stealing; but the police chief finds her a place to stay and an older woman and a young boy are kind to her.

Will she go or will she stay? Winner of the SIGNIS award at the 2006 Zanzibar film festival, Tarfaya suggests some ways of hope and acceptance and even of redemption in a world that is both good and bad – but not totally good nor wholly bad.

MO AND ME

Kenya, 2005, 95 minutes, Colour.

Directed by Richard Mills.

This is a top-rate documentary, memorable for many reasons.

Journalists may be well aware of Mohammad Amin, the Kenyan cameraman and reporter who for decades scooped the stories, especially in Africa, but who brought to world attention through his images a number of crises. He died in 1996 and this is a tribute to him (personal warts and all) by friends and by his photographer son.

In 95 minutes, we are treated to an insightful portrait of Amin. We are also treated to a study of the role of photo and television journalism in the second half of the 20th century. Further, we are shown the man in action and footage he took from some of the key crises in Africa. It begins with Russian and East German training camps in the forests of Zanzibar in 1964 (which led to Amin’s month imprisonment and torture). It continues with a key assassination in the streets of Zanzibar, Kashmiri clashes and a close-up of Idi Amin in word and action.

It was Mohammad Amin who photographed Ethiopia in 1984 and offered the world photos of the famine – and this film includes Bob Geldof and the recording of We are the World. The 90s fighting in Ethiopia led to Amin losing an arm in an explosion but he kept going until he died in the crash of a hijacked plane off the Comoros in 1996.

A narration by his son is a fine combination of critique, love and respect. There are family interviews and helpful meetings with BBC reporters, some of whom visit the sites of action, especially in Ethiopia, 20 years later.

A satisfying and continually interesting portrait and study.

BARAKAT!/ ENOUGH!

Algeria, 2005, 95 minutes, Colour.
Rachida Brakni, Fettouoma Bouamani.
Directed by Djamilla Sahraoui.

Barakat contains a brief but compelling story, told in a slow-moving and contemplative manner. It takes us back into the civil fighting in Algeria in the 1990s. Some of the veterans of the wars against the French have settled into productive lives. Others are still fighting in fundamentalist militias.

The central character is a dedicated doctor who is fearless against curfews to save her patients. Her journalist husband disappears and she enlists the aid of a nurse friend (who fought against the French and has contacts with the militias) and they drive to a remote mountain village to find the abducted man. While they come to aid of the wounded, they are not successful and are made to walk down the mountain to freedom. The doctor bickers with her friend but, finally, apologises. They are given shelter by a quiet old man who takes them by cart back to the city where the doctor realises what has happened and goes in pursuit.

The characters are particularly well drawn and audiences can empathise with the proud and professional doctor and the kindly but tough nurse.

The issues of civil strife and terrorism are universal even as they are shown in the particular details of struggles in Algeria.

TAKE THE LEAD

US, 2006, 118 minutes, Colour.
Antonio Banderas, Rob Brown, Yaya De Costa, Alfre Woodard, John Ortiz, Elijah Kelly.
Directed by Virginia Friedlander.

Almost fifteen years ago, the phrase ‘Strictly Ballroom’ was made popular by Baz Lurhman’s entertaining film about ballroom dancing, the odd assortment of characters who frequented the lessons and the competitions and the demanding rules and protocols required for dancing success. Take the Lead fits into this category of movie entertainment.

It probably has a ready-made audience in the countries where that word ‘strictly’ has become part of the language with the popularity of ‘Strictly Come Dancing’ and the other television programs that promote an older style of dance. In 2005, we saw the enjoyable documentary, ‘Mad Hot Ballroom’, which traced the story of how teachers in New York City took youngsters from underprivileged neighbourhoods, from poor and dysfunctional families and trained them in the arts of competitive ballroom dancing. It was one of those films that are often referred to as ‘inspiring’.

‘Inspiring’ is the word that appears at the beginning of Take the Lead. It announces that it is inspired by a true story. And, it obviously hopes to inspire its audiences. I hope it does.

The story of Mad Hot Ballroom has now been fictionalised, although it is based on the true story and work of volunteer dance instructor, Pierre Dulaine. The age of the students has been upped from the last years of primary school to the last years of secondary. This, of course, gives more dramatic edge to the problems that the students face: absent fathers, drug deals, violence and murder on the streets, prostitution, sullen and surly angers against authority and apathy concerning education.

It should be noted for audiences who might want to go because of the dancing but might be put off by the tough themes that this film is remarkably free of street language – of the kind that is usually warned against. The producers obviously want a wide range of people to come and not to be offended but, rather, to be encouraged and inspired.

Antonio Banderas plays Pierre Dulaine who in real life began this dance project in schools. Dulaine is a widower who trains wealthy youngsters in ballroom dancing. Confronted by the tough attitudes amongst young people, he offers to teach dancing. Teachers are sceptical. Parents object. The principal, a tough and demanding character herself (Alfre Woodard) finally allows him to try, but has no expectations of success.

Take the Lead gets a three star rating for entertainment value. If one were writing a strict critique, it might only get two because it has every familiar character and plot turn in the book. Most of us could have written the plot outline ourselves. But, that it not the point. While a critic looks for the new, the different and the unpredictable, most audiences do like predictability. It is pleasingly reassuring.

It doesn’t really matter if we know that, despite the resistance and the difficulties, Pierre Dulaine is going to convert the students, win over the principal and get the support of the parents. We know that they are going to win the competition against all odds. The enjoyment comes not from finding out what will happen but of seeing the ways in which it all comes out.

Where Take the Lead is different is that it combines traditional dancing with the hip hop trends, with the salsas and the neighbourhood rhythmic dances. It lets us know right from the credits as the beat moves from Gershwin to rap and intermingles the two. For Strictly Come Dancing enthusiasts, there is plenty to delight the eye and the ear – and the added interest of the story of the charming and courteous Pierre Dulaine, of the troubles of the local kids, of the thrills of competition.

For inspiration, Dulaine’s speech to the hesitant parents about how the demands of dance and courtesy can transform their children is convincing and hopeful.

SCARY MOVIE 4

US, 2006, 83 minutes, Colour.
Anna Faris, Regina Hall, Craig Bierko, Bill Pullman, Anthony Anderson, Leslie Nielson, Molly Shannon, Michael Madsen, Chris Elliott, Carmen Electra, Shaquille O’ Neal, Cloris Leachman.
Directed by David Zucker.

What is there to say about a movie spoof except to say whether the reviewer found it funny and to indicate what are the targets of the satire.

The important caveat is that it will really be intelligible only to those who have seen and enjoyed the movies lampooned.

On the first count, it seemed to me to be quite funny, mostly in a chuckling kind of way. The recent Date Movie made the mistake of simply re-doing some of the funny sequences in romantic comedies only proving that the originals were much better and cleverer. The Scary Movies don’t simply imitate. They exaggerate and put into a comic context the originals. The first two movies tended to be over-scatological in their humour, too ‘gross-out’. While there are some lavatory jokes (this time a literal one at the expense of The Village), this time the aim is parody that most people can enjoy.

And the references? It starts with a funny skit on Saw with Shaquille O’Neal? and TVs Doctor Phil happily sending themselves up (and the action comes back to the dungeon of Saw). The main plot concerns Anna Faris (once again showing herself to be a good sport, not just a dumb blonde or a blonde in dumb situations). She gets a job like that in The Grudge. However, next door is Craig Bierko who works on the docks, clashes with ex-wife and children – just like Tom Cruise, only taller – and experiences the War of the Worlds, which is the main part of the plot. And any film which belts the Dakota Fanning character from pillar to post could not be all bad! Meanwhile, Anna and her friend are waylaid into The Village.

There are also some shots at George Bush, especially at the school where disaster is announced and he wants to hear the end of the story about the ducky, and an address to the United Nations. Leslie Nielson does his usual deadpan as the President.

While the President may not be a great fan of Scary Movie 4, Tom Cruise will be even less so – after the War of the Worlds comes the parody of his jumping and laughing turn on the Oprah Winfrey show.

LOVE, WEDDING, MARRIAGE

US, 2011, 90 minutes, Colour.
Mandy Moore, Kellan Lutz, James Brolin, Jane Seymour, Jessica Szohr, Michael Weston, Christopher Lloyd, Alexis Denisof, Alyson Hannigan, Colleen Camp.
Voice of: Julia Roberts.
Directed by Dermot Mulroney.

Love, Wedding, Marriage received terrible reviews. It is a romantic comedy – but, while trying to look at serious issues, comes across as a piece of romantic fluff, even trite. Some of the difficulties are in the writing, but also in the performances.

Mandy Moore is rather one-note as Ava, the central character, marrying her boyfriend Charlie, but concerned about her parents and their wanting to break up after thirty years. She spends most of the film interfering in their lives and trying to save the marriage. She irritates most of the characters – and probably many of the audience as well. Kellan Lutz is her husband, a beefcake kind of hero (the Twilight series, Arena). Veterans James Brolin and Jane Seymour are the parents. There is a cameo appearance by Christopher Lloyd as an eccentric therapist, Colleen Camp as an even more eccentric manager of therapeutic processes, and the voice of Julia Roberts (friend of Dermot Mulroney from My Best Friend’s Wedding) as the voice of Mandy Moore’s therapist.

There are some corny situations, some attempts at marriage counselling, a variety of high jinks, some romantic interludes – and a happy ending. However, while many audiences might enjoy the light touch, many more audiences will probably find the film somewhat irritating. The direction is by actor Dermot Mulroney.

1. The title? The way that it was distributed through the film? Expectations?

2. A family comedy, the cast? Marriage, marriage break-up, relationships, fidelity, reconciliation? The heart in the right place – but the light, even trite, treatment?

3. The affluent background, the families and their homes, the weddings? The therapy background? The musical score?

4. The focus on Ava, her relationship with Charlie, the wedding and the happiness, their commitment? The modelling of her parents? Her work as a therapist – the credibility of her studies, seeing her in action with couples? Her over-eager intervention in people’s lives? Shelby, her sister, acting as her secretary, interfering? Ava and the relationship with Charlie – and the revelation that he had been married before, the annulment, Las Vegas and his drinking, her harsh reaction? The shock of her parents breaking up? Her bond with her father? With her mother? Her father coming to live with her, the details of his being in the house, repairing things, going out with Charlie, drinking? Trying to organise meetings with her mother? The discussions with Shelby? The recommendation to Doctor George – human nature his death-experience therapy? Her own therapist? Her getting deeper into complications? Her having to face herself, her change of heart? Her mother’s trip, interfering again, yet success at the end? The reconciliation with Charlie?

5. Charlie, ordinary type, his job, the wines, love for Ava, the way she treated him, the friendship with Bradley? The friendship with Gerber? Gerber and his drinking, his girlfriend? Charlie on the town with Bradley, unable to control him? Fighting with Ava, the reconciliation?

6. Bradley and Betty, thirty years, the argument? The shock for the daughters? The nu of the marriage? The affair and the situation of the separation? Bradley and his being old-fashioned? Betty and her feeling repressed, wanting to be herself? The plan for travelling? Bradley and his never asking his wife how she felt? Bradley moving in, with Ava, helping around the house, going out on the town with Charlie and Gerber? Betty, her social life, her plans? Bradley and the pills, going to the hospital, her love for her husband, the reconciliation? The credibility of Bradley and Betty as real characters?

7. Gerber, his friendship, his flirtatious manner, at the wedding reception? His meeting Kasia, her lack of English? Love, marriage? Together? Out on the town with Bradley?

8. Doctor George, Christopher Lloyd and his eccentricities, his therapy, the reactions?

9. Ethel, her activities, her commands, surrender – and the family participating?

10. The background, friends, lifestyles? The credibility of the characters – illustrating the themes of love, wedding and marriage?

 

THE OTHER SISTER

US, 1999, 129 minutes, Colour.
Juliette Lewis, Diane Keaton, Tom Skerritt, Giovanni Ribisi, Poppy Montgomery, Sarah Paulson, Juliet Mills, Hector Elizondo.
Directed by Garry Marshall.

The Other Sister is a film about mental limitations. Juliette Lewis plays the mentally impaired daughter of wealthy and fashionable parents, Diane Keaton and Tom Skerritt. After difficulties at school and at home, she has lived for a long time in an institution, coming to terms with her situation. The film focuses on her coming home, her mother’s attempts to dominate her life, her father’s devotion to her, the support of her two sisters (Poppy Montgomery, Sarah Paulson). It shows her studying at a tech school in San Francisco, computers, hoping to be a vet assistant. She encounters a similarly impaired young man, Giovanni Ribisi, and they become friends.

Juliette Lewis gives a strong performance as Carla, the young woman. Diane Keaton is very good – although alienating the audience from her character – as the mother. Giovanni Ribisi is also good as the young man. There is a surprise appearance by Juliet Mills as the family’s maid and, as always in a Garry Marshall film, an appearance by Hector Elizondo.

Critics were not kind to the film – but audiences were very moved by the story and the performances. It takes its place along with many other Hollywood films where significant stars impersonate mental limitations, for example Rain Man with Dustin Hoffman, Awakenings with Robert De Niro.

1. The title, the highlighting of the normal sisters, their ordinary life, mental impairment, disability?

2. The San Francisco settings, the family and its wealth, the home, the boat, their lifestyle, the wedding? The technical college? Apartments? The variety of San Francisco locations? The musical score?

3. Carla’s story, at the institution, coming home, her bond with the doctor, the love of her father, taking the goldfish in the plane, the flight, meeting the family, her mother and the dominance, the supportive sisters? Her age, manner, way of speaking? Her memories of school, being laughed at, pushing the boy down the stairs, meals at home, banging the door?

4. Arriving home, the discussions, the meal, Carla’s behaviour, her room, her mother refurnishing it, shutting her eyes for the memories of her old room? The bonds with her sisters? The sister and her fiancé, the engagement? The lesbian sister?

5. Elizabeth and her personality, Diane Keaton’s strong performance? Tom Skerritt as the father, the past drinking? Under control? The love between the two, their clashes, reconciliations? The mother having to learn how to deal with Carla? Her style, patron of the arts and other organisations, at the function, Carla with the dogs, causing chaos?

6. Going to the tech, wanting to be a vet’s assistant, her arrival, registration, the spray with the boys coming on to her, seeing Daniel, helping him, the computer classes, watching the flirting girl with the lecturer – and imitating her in the mirror afterwards?

7. Daniel, his friendship with Carla, her helping him, their talking, friendship, the bike ride, going to Tids ‘n Bits for food, the bakery, his boss, his skills? His character, disability, father paying for his board? His absent mother? His friendship with Ernest, his apartment, his love for band music, going to the practices, the band members and their support of him, friendship? Carla and the blues? The outings, sharing, their overcoming their disabilities? Daniel’s failure in the exam? Carla’s delight in passing?

8. Carla wanting her own apartment, her mother and her concern, the sex talk and her being reassured? The setting up of the apartment, the mother’s lists, Carla and her travel, the buses, visits home, the sex talk, the Thanksgiving dinner, the package and taking it to Daniel, their previous discussions about sex, Alex Comfort’s book, the diagrams, their behaviour? The consequences?

9. Win, the maid, her love and devotion for Carla, preparing the Thanksgiving dinner? Her joy in the household?

10. Halloween, her swan’s dress, Daniel as the dog, Elizabeth’s reaction? Elizabeth and her teaching Carla to dance? The Halloween party, the dancing, the exam results?

11. Ernest, the Vietnam background, his love for music, playing the guitar, his friendship for Daniel, Daniel and his drinking, Ernest supporting him, the phone call from Daniel’s father?

12. The engagement party, Daniel drinking for courage, the fiancée and Caroline, the speech, Daniel interrupting, his blunt talk, Carla and her rage, never wanting to see him again? Elizabeth and her having to cope?

13. Daniel, going in the bus, going home, the decision to come and save Carla, getting the variety of lifts back?

14. The influence of The Graduate, the comparisons, the scenes shown? The wedding, everybody present, the formalities? Carla and her reaction to Daniel, his sliding down the banister, disrupting the wedding, Elizabeth in control and the wedding continuing? Carla and her argument, the sprinklers going on?

15. Carla wanting to discuss her own wedding, Elizabeth refusing to go, the father and his presence in the church? Daniel’s mother? The ceremony, the vows, Elizabeth turning up, the reconciliation, going outside, the bands and their marching past, the salute to Carla and Daniel? The happy ending?

16. Audiences and emotions, insight into the lives of the mentally disabled, tolerance and understanding, love and support?

THE GIRL FROM TENTH AVENUE

US, 1935, 69 minutes, Black and white.
Bette Davis, Ian Hunter, Colin Clive, Alison Skipworth, John Eldredge.
Directed by Alfred E. Green.

The Girl from 10th Avenue is based on a play, a slight film, a vehicle for Ian Hunter who had come from South Africa and had appeared in many Warner Bros films in the 1930s and 40s – returning to England in the 1950s. It is a star vehicle for Bette Davis, the year after winning her first Oscar for Dangerous. Colin Clive, from the Frankenstein films, is in support.

The film focuses on a society wedding, the drunkenness of Ian Hunter as Geoffrey Sherwood who feels he has been jilted. He encounters a young working girl, Bette Davis, who takes pity on him, marries him while he is drunk, decides to spend her time helping him and rehabilitating him. In the meantime, like Pygmalion, she improves her social status, especially with the help of her landlady, played by comedienne Alison Skipworth. Eventually, the society marriage breaks up, the wife flirts once again with Geoffrey, he is tempted – but Bette Davis and Alison Skipworth go to a restaurant, have a confrontation with the wife, including her throwing a grapefruit. Bette Davis regains her dignity. However, Ian Hunter continued to collapse, finally confronting the wife, realising he loves Bette Davis – and returning to her for a happy ending.

The film was directed by Alfred E. Green, prolific director of silent films as well as films and television from the 30s to the 50s. His high point was directing The Jolson Story.

One of the many films of a similar kind coming from Warner Bros during the 1930s – supporting features yet providing opportunity for up-and-coming stars.

ABRAHAM LINCOLN – VAMPIRE HUNTER

US, 2012, 105 minutes, Colour.
Benjamin Walker, Dominic Cooper, Anthony Mackie, Mary Elizabeth Winstead, Rufus Sewell, Marton Csokas, Joseph Mawle.
Directed by Timur Bekmambetov.

Well, the title is certainly provocative. It may mean that serious moviegoers (and historians and history aficionados) may be crossing it off their list of must-see films. That would leave only the action and graphic novel fans (which could, of course, include some historians) and the curious. This review comes from a curious historian.

If someone is going to make a film with this title and with this imagination, it might as well be done like this. I am not sure whether I should be writing this – but I enjoyed it, especially the playing with history (somewhat like Anonymous with Shakespeare’s plays and the Duke of Oxford) which in no way undermines the reputation of Lincoln. For those concerned about Lincoln and history, Steven Spielberg’s forthcoming portrait with Daniel Day Lewis will set the record straight.

So, what is happening here? Graphic novelist, Z, has adapted his story for the screen. And the director is the flamboyant Timur Bekmambetov (the Russian films Day… and the American actioner, Wanted). Supported by designers, costumers and seemingly legions of special effects experts, he offers a colourful film, playing with vampire myths and inserting them into Lincoln’s life as well as the waging of the Civil War.

Apparently, when Lincoln was a boy, a savage plantation owner (Marton Cokas) is confronted by Lincoln’s father when his wife is attacked and killed. The boy had been defending his black friend, William. Lincoln is bent on revenge until he meets a vampire hunter, Henry (Dominic Cooper), is instructed in confronting evil as well as in fight and weaponry techniques plus a philosophy of ridding the world of evil instead of being Abe works in a store, is dragged to meet Mary Todd whom he eventually marries.

He begins to study law, is persuaded to become political, especially after he meet Wiiliam (Anthony Mackie) again and, especially when he is tricked into travelling to New Orleans to a vampire coven to rescue the abducted William and becomes aware of slavery first hand. The coven is presided over by the arch villain, Adam (Rufus Sewell). Lincoln becomes the advocate of freedom for slaves, especially when he is elected to the congress and, of course, when he becomes president.

At these stages, the vampire hunting becomes less, the social, poiitical and freedom issues come to the fore (which could make the action fans who may not be on the history wavelength rather fidgety).

The author works the vampires into the Civil War scenarios. Adam wants to win the war so that American will become a free vampire country. But… with some twists and inventiveness and a huge set piece on a train with a vampire attack as well as a bridge set alight (quite spectacularly) and the train on the verge of plunging off the bridge.

Obviously, as Abe speaks the Gettysburg address, he has more in mind here than freedom from slavery – a realization of what might have been.

While Benjamin Walker (looking like a younger Liam Neeson) and the cast play it straight, the vampire cast, especially Rufus Sewell, have tongues in cheek. This invites us to take it all seriously even when we know it is all made up and far-fetched. It could set precedents for heroics of other presidents. ‘Teddy Rooseveldt in Cuba, Voodoo Pursuit’?

1. The title, expectations? Serious? Comic?

2. The basis in a graphic comic? Invention? Fact and fiction combined? The heroic Lincoln? In his politics? In vampire hunting? The combination? The visuals of graphic novels? Action?

3. Audience knowledge of Lincoln, history, the issues in the United States, the Civil War? His assassination?

4. Audience response to vampires, vampire legends, folklore, explanations?

5. 19th century America, Illinois, 1818, New Orleans, Washington DC, the Civil War, recreation of the period? Musical war?

6. The Civil War, the action sequences, the visceral presentation of the battles, reality, the vampires fighting? The special effects?

7. Abraham Lincoln as a boy, his encounter with Jack Barts? Barts’ appearance, the attack? The friendship with William, defending William, interracial friendship? Lincoln’s father, his debts, his wife, the attack, death? Lincoln and his revenge motivation?

8. The passing of the years, Lincoln and his search for Barts, his motivation, the build-up to the confrontations?

9. The bar, the encounter with Henry, the gun, their discussions, Henry recruiting Lincoln, the extensive training, weapons, folklore about vampires, axes, silver? Henry and his list? The types who became vampires? Lincoln and the confrontations, the hunting, the fights, deaths, burial?

10. The diary and its importance? Lincoln and his confiding his thoughts and feelings?

11. Lincoln settling down, the friendship with Joshua Speed? Helping him, work, the ball, the encounter with Mary, the dancing, the suitors, the picnic – and the marriage?

12. Mary, a strong character, determined, the senator, the invitation to work for politics?

13. William, his arrival, friendship with Lincoln, their working together, the capture, Lincoln going to New Orleans? The encounter with Adam, the vampires, the party, the fight and escape? The introduction of the slave route?

14. The character of Adam, ageless, his associates, the history of slaves, the pyramids, surviving, his wanting a vampire nation?

15. Lincoln, his speech, the people listening to him, going into politics, going to Washington, election as president, the verge of Civil War, slavery issues, William and Speed and their support? Mary?

16. The female vampire and her role in the White House, playing with her son, the son’s death, Mary and her bitterness?

17. Henry, his reappearance, helping Lincoln, the fights, the time for the final confrontation with Barts?

18. Slavery, the south, the refuge in the north? Henry and the visuals of war, his advice, the dead?

19. The confederate soldiers, Jefferson Davis? Adam and his influence? The vampires, the fight, slaughter?

20. The politics, Adam and his role, Jefferson Davis and the leadership of the south, the vampire warriors?

21. Lincoln, desperation, the discovery of the fork and the silver, collecting the silver, transforming it?

22. Speed his going to Adam, acting the part of the traitor? The build-up to the train, the voyage, the guards? The silver, the vampires and their lying in wait for ambush?

23. The train, the attack, the vampires, the woman and the confrontation with Lincoln? The axe, her death? The action sequences, the high bridge, burning, the irony of the rocks instead of the silver?

24. The alternate route, Mary and her leaving the White House, the arrangement with the slaves, the vampires and the confrontation? The delivery of the silver? The consequences for the Civil War? The use of the silver? Adam, the confrontation with Mary, the necklace?

25. The Gettysburg Address – the film’s relying on serious aspects of history? Incorporating the Civil War battles as well as Gettysburg? Lincoln, his reputation, his death?

26. The epilogue, Henry, his continuing to live, his place in the 21st century – and continuing to recruit?

27. The imagination of the writers, the director? The graphic novel – history, fiction and what if ....?
 

HIGHER GROUND

US, 2011, 109 minutes, Colour.
Vera Farmiga, Joshua Leonard, Norbert Leo Butz, Michael Chernus, McKenzie? Turner, Donna Murphy, John Hawkes, Bill Irwin, Taissa Farmiga, Dagmara Dominczyk.
Directed by Vera Farmiga.

Vera Farmiga, a versatile actress in quite diverse roles in films like The Departed, Breaking and Entering, The Boy in the Striped Pyjamas or Up in the Air, has taken on demanding tasks for her first film as director by playing the lead as well. For those who ‘get’ the film (and there will be many who don’t because it deals with themes of religion and challenges to faith), she has done good work in both directing and acting.

The film is based on a memoir by Caroline S. Briggs, ‘The Darkest Hour’ and she has co-written the script with Timothy Metcalfe. Because it is a memoir rather than a biography, the film uses memoir structure: moments are glimpsed; motivations are implied sometimes rather than being spelt out; characters may also seem enigmatic or underdeveloped as the screenplay quickly moves from times and places in leaps rather than in ordered and explained progression.
That said, the film is fascinating for anyone who is concerned about religion, especially popular religion and what is often called ‘simple faith’. While devout simple faith can be a great solace and sustenance, we realise that for many it is not enough. Important questions about life and its meaning are ignored at one’s peril, an opting out that can lead to a blind and/or stubborn hanging on to the words of belief without reflection, or a shattering of the fragilities of faith leading to giving up on religious effort or despair.

Corinne, as a little girl, was stirred by an eager preacher and put her hand up to say that she had made a choice for Jesus. At home, things are not so easy: a drinking father, a carefree mother, the tragedy of a death at birth. As Corinne grows up (and Vera Farmiga takes on the role), she writes and thinks but becomes infatuated with a young band member, Ethan, who invites her to write a song with him. The older Ethan is played well by Joshua Leonard. Pregnancy and marriage follow in that order. When, some band members are fooling around in a bus and cause it to swerve into a river, Corinne’s and Ethan’s baby does not die as they had feared. From then on both become believers and members of a home church, led by an enthusiastic preacher (where men preach and women, dressed modestly, don’t).

Years go by until one of Corinne’s close friends, Annika (an engagingly exuberant performance by Dagmara Dominczyk) has a brain tumour and Corinne begins to give voice to her questions about suffering and God’s presence and absence. The help she gets is not sufficient to help her resolve her issues and her husband’s and children’s continuing devout lives. Some have complained that the film leaves the audience up in the air concerning Corinne’s decision, but there are several, non-verbal indications that tell their story satisfyingly.

The film presents evangelical Christians as they are, positive and negative and response will depend on presuppositions audiences bring to the film as to whether they approve/agree with these Christians, their faith, the Jesus-language, their charismatic approach to prayer and sharing, their moral codes (and patriarchal leadership). For mainstream church audiences, the film is a challenge to them as to how they believe, how they express that faith and speak of Jesus, how they respond to questions about God. It is a challenge to those in leadership and spiritual direction as to how they would listen to such a Christian, evaluate their prayer experiences and assist them in discerning God’s place in their lives.
Vera Farmiga made some observations on her approach to the film. She herself comes from an American Ukrainian Catholic background:
‘You've got fundamentalism, and you've got relativism. I wanted to push both ways and try to come at it from a middle ground.’
‘My dad is someone who feels the breath of God on his face. He's tapping into something that I have yet to tap into - and yearn to.’
‘Doubt is the middle position between knowledge and ignorance. It encompasses cynicism but also genuine questioning.’
(On any difficulties she encountered in casting 'Higher Ground'):] It should have been a lot harder. I'd say, 'It's about a woman enmeshed in this very particular spiritual community who's trying to conceptualize and define God for herself'. And you use the word 'God' and people quake with fear. That's when I started to realize what a touchy, bizarre, sensitive, combative subject matter it is.


1. The impact of the film for religious audiences, non-religious audiences, evangelicals, mainstream Christians? American audiences, non-Americans? The critique of religion? Of evangelical churches and communities? For or against?

2. The work of Vera Farmiga, as director, star? Her focus? Her religious journey, seeking for faith, presence of God? The audience and their sharing the journey, their judgment of her?

3. The work of Carolyn Briggs and her memoir? The title, This Dark World? The various chapters – and the captions, illustrating Corinne’s journey?

4. The locations in New York State, the evocation of the south, the Bible belt, evangelical communities? The locations, the town and homes, the church and schools, libraries etc? Sense of realism?

5. The musical score, the range of hymns throughout the whole film, the lyrics and their relationship to the plot, the familiar hymns, the way that they were inserted into the narrative? The cumulative effect of the hymns and the singing?

6. The opening, Ethan and his praising the Lord, the range of immersions, the sense of realism – and the comic touches?

7. The flashbacks to Corinne as a young girl, within her family, her relationship with Wendy, her mother and her style, wanting glamour, non-religious, the issue of the accordion and the salesman, and saying Corinne was not musical? Her father, his drinking, fighting with his wife? The development of the characters – especially for their later appearances in the film?

8. Corinne, the Sunday school, Pastor Bud and his spiel, tap tap on the microphone, tap tap on the heart, Jesus calling the children, urging them to put their hands up, their special day, Corinne putting her hand up, Wendy not putting hers up? The effect? Why? Corinne’s later reflections? Explanations to her mother?

9. The teenage Carolyn and Wendy, their sharing the room, Wendy and her worldly touches, Corinne and her diary? Study, reading, not being allowed to read Lord of the Flies – but later the librarian giving it to her? Going to church?

10. At school, the encounter with Ethan, talking, sharing, his music, the group? The title of The Renegades? Performances? Ethan wanting to write with Corinne, their composing the song? Ethan as a character, worldly, Corinne and her love for him, pregnancy, the wedding celebration?

11. The birth of their child, going travelling with the group, the permissive lifestyle, the crash, the bus in the river, saving the baby? Reliance on God?

12. The religious experience, motivations, Ethan and his singing, Corinne and her immersion, her leading songs outdoors?

13. Pastor Bud as a person, church leader, his knowledge of texts, his exhortatory style, urging people to share? Genial, the nature of his leadership?

14. The community, young, families, enclosed, the reliance on biblical texts, acknowledgment of God’s will, the dominance of men, hierarchical, the women correcting Corinne, her dress and her shoulders? Women’s roles, not preaching? At the meetings, the testimonies? The men and the reflections on sex, the sex tapes and their language?

15. Corinne and her friendship with Annika, Annika’s vivacity, yet devout? Her love for Ned? The humour of the penis drawing? Corinne and her sexual fantasies, lascivious, with Annika? The driving lessons, the policeman pulling them up, Annika’s voice pretence? Ordinary life, the years passing, food, visits, support? Annika and her praying in tongues? Corinne and her wanting to have the gift of tongues, asking for explanations, talking about the mystical experience, in the bathroom trying to induce tongues? Annika and the news of the tumour, Corinne going to the hospital, Ned and his care for Annika, going to the meetings, Annika and her restrictions and helplessness?

16. Corinne, her relationship with her children, the birth of the son, the difficulties? The years? With Ethan, the family? Her own father, his stopping drinking, change, becoming a genial presence?

17. Sharing with Ethan, Ethan and his strong religiosity, singing in the church, with the children? Corinne and her wanting to study? Changing, open to other experience, Ethan not changing?

18. Wendy coming to stay, her worldly background, yawning at church, the drugs and the children with the drugs, her leaving?

19. Corinne and religion, her past, continually wanting God, using the language of religion, the Scriptures, even tending towards preaching and being rebuked, grace before meals, her singing, yet her questions? Yearning for more?

20. The growing exasperation, confronting Ethan, leaving, the apartment and her mother helping her, the landlady’s talk about fanatical evangelicals? Going to the library, books, meeting the postman, the discussion about books, Yeats and his reading the poem, the postman with the children, possibilities for Corinne?

21. The sports event, the harsh words to Ethan, his bewilderment? Her anger and frustration?

22. Going to the therapist, his seeing himself as a prophet, the preaching kind of language, urging Corinne to stay with her husband? Not hearing her yearnings?

23. The birthday party, her son, her mother with her new husband, her father, the remembering of the past, love, the children, wanting the photo, the wedding photo and the cake – and Corinne unable to kiss Ethan?

24. Corinne going to the church, her speech to the congregation about herself, their not applauding, bewilderment? The hymn, the singing? Her kissing Ethan – and the exit from the church?

25. The issues of discernment, the inability of the evangelicals to go beyond God’s word, not listening to the human heart, the failure in spiritual direction? Corinne’s future – as religious, experiencing God’s presence, reconciling with Ethan or not? A familiar story for many people in the contemporary world?