FLORENCE FOSTER JENKINS

UK, 2016, 110 minutes, Colour.
Meryl Streep, Hugh Grant, Simon Helberg, Rebecca Fergusson, David Haig, John Sessions, Christian Mc Kay, Alan Corduner.
Directed by Stephen Frears.

Many audiences may have heard of Florence Foster Jenkins over the decades, the wealthy socialite in the 1940s who hired Carnegie Hall for herself to sing, seemingly oblivious to the fact that she could not sing and was continually raucously off-key.

This film was one of two based on her story, the other an elaborated fiction, made by the French director Xavier Giannoli, Marguerite, with Catherine Frot. Marguerite is the longer of the films, creating an atmosphere of France in the 1920s, looks at the character of Marguerite and her delusion, her compulsiveness in singing, the adulation of friends and her husband, her unreality and people unable to tell her the truth. Marguerite actually uses quite a number of facts and incidents in the real life of Florence Foster Jenkins.

Stephen Frears has been making films for the best part of 50 years, working in a wide range of genres, both in the US and the UK, and in recent times directing actresses in significant roles like Helen Mirren in The Queen and Judi Dench in Philomena. Here he directs Meryl Streep.

For 40 years Meryl Streep has been able to immerse herself in her roles, and her characters, an extraordinary empathy, and technique which relies on her phrasing, her accents, but also on her ability with her eyes and seemingly insignificant gestures. This is all to the fore here in her portrait of Florence – with the added challenge of actually singing forcefully off-key (while Streep herself has sung in such films as Postcards from the Edge, The Prairie Home Companion and Mamma Mia). Her performance here is certainly up with her best.

There are times when the cinema audience just has to laugh at the cacophony coming from Florence’s mouth, just as so many in her audience laughed, at her private recital which encouraged her to hire Carnegie Hall, wanting to sing for the Armed Forces and giving all the tickets away, her war effort. People flattered her at her recital though many laughed, especially the vamp wife of a financier who had to be dragged out laughing collapsed on the floor but who redeems herself and Carnegie Hall in accosting the audience and urging them to give Florence a chance.

But, there is more to the story of Florence than her terrible singing. As the film progresses, we learn of her first husband, of his communicating illness to her, of her father’s hard attitude towards her, finally inheriting his wealth, of seeing an eager young actor in an audience and attracted to him and marrying him in 1919, their platonic relationship because of her illness, her tolerance of his having an apartment where he could live as he wished after always seeing her to bed in the evening, and his continued devotion and support. They founded the Verdi Club in New York, the film opening with some of their pageants and the enthusiasm of the club members, most of them not as young as they used to be.

Hugh Grant does often seem the same in every film but his screen persona suits his performance as Bayfield, Florence’s ever attentive husband. He and Meryl Streep make a very interesting and lively screen couple.

Then there is Simon Helberg, a diminutive comedian who blows plays the role of Florence’s initially enthusiastic accompanist, Cosme McMoon?, who tries his best, is sometimes aghast, consents to play at Carnegie Hall fearing that this would be the end of his career.

This is a British film, made in England, with a number of British character actors in American roles, David Haig very good as the Maestro who encourages Florence in her singing and training, Christian Mc Kay as a hostile reporter from the New York Post, Alan Corduner as the manager of Carnegie Hall, John Sessions as Florence’s doctor. Rebecca Ferguson is Bayfield’s mistress, living in his apartment.

A lot of audiences will simply laugh straight out at Florence and her dreadful singing while others will be self-conscious about it as they sit in the cinema – but, one can’t help laughing even though one wants to be sympathetic, but with so much more shown us about Florence, her character, her enthusiasm for music despite her self-delusion, that the film takes on something of the comic-tragic.
1. Audience awareness of Florence? As a person, her singing?

2. Audience response to her, Meryl Streep’s presence, performance, singing, off key? Florence as a person, her singing, people laughing at her? Her tragedy? How much empathy?

3. The director, his career, noted for substantial women’s roles? The cast, Meryl Streep incarnating a character? Hugh Grant and his style? Simon Helberg and his comic touches, piano playing?

4. New York, 1944, the atmosphere of the city, during the war, the streets, people, costumes and decor? The background score?

5. Meryl Streep as Florence, Hugh Grant and his British style and aplomb as her husband? The supporting cast? A British film?

6. New York society, wealth and traditions, bankers, prosperous marriages? Society hostesses? The Verdi Club? The performance of the pageants, Bayfield and his reciting Hamlet, his acting background? The Stephen Foster pageant and Florence as an angel giving him inspiration? The final scene of the Valkyries and Wagner? Florence and her husband enjoying the pageants? The eager responses of the audiences? The reviews?

7. The marriage, the explanations, Florence and her first husband, the first night and getting syphilis, his infidelities, her illness, the mercury and arsenic cures? Needing hospital care, possibilities for collapse? The story about seeing Bayfield in the audience, his smile? Marrying him, loving him, his devotion to her? A non-sexual marriage because of her illness? Her knowing about his apartment, not knowing about Kathleen? Her surviving into an old age, thriving on love and devotion?

8. Her manner, uppercrust, studious, fastidious, her staff and their care? The debilitation? The pageants, the clubs, her society friends and their getting older? The visit from Toscanini and her giving him money, supporting the concert, hearing Lily Pons in Carnegie Hall, the audience hearing beautiful singing before hearing Florence? Her vocal coach, the detail, her voice, the exercises, his flattering her? Her paying him well? His being in Florida to avoid her recital?

9. The auditions for a pianist, the intense pianist and her nerves and passion, introduction to Cosme, his gentle playing, relaxing, her confiding in him, Bayfield’s attention, dismissing the other applicants and their mutterings about him? His accepting the job, more payment than he was expecting?

10. Bayfield, his charm, Hugh Grant and aplomb, absolute devotion to Florence, using her nickname of Bunny, his look of devotion, 25 years, seeing her to bed, fulfilling her every whim, his apartment, the sexual outlet with Kathleen, her complaints yet her concern about Florence, taking her on a golf weekend and her enjoying it? The night together – after the party, his being the life of the party with his dancing? Florence arrive arriving, their covering, with Cosme?

11. Kathleen as a person, love for Bayfield, her care for Florence, the concert, her friend, the playwright, and trying to control him, the celebration afterwards, their being caught? The drink the club, Bayfield and his defending Florence against the mockery – her threats and her leaving?

12. The recital, the audience hearing Florence’s voice, the reaction of the audience, laughter, the blonde young wife, her laughing, being dragged from the auditorium? The playwright, laughing, calling out bravo, the effect on the rest of the audience?

13. The selling of the tickets, Bayfield and his being in charge? The journalist from the New York Post, wanting a ticket, Bayfield and the offer for paying him off, his refusal?

14. Cosme, the effect of the experience, supporting Mme Florence? In the recital, the party afterwards, the gay approach, his drinking, staying the night?

15. Florence, the decision to make the record, Cosme accompanying her, her thinking the first take was perfect, the wide distribution, being played on the radio, the response of the Armed Forces?

16. Bayfield, the golf weekend, Florence alone, lonely, going out to distribute the record, visiting the apartment, clamouring to get in? Everything
covered to deceive her?

17. Her booking Carnegie Hall, Cosme and his fear, the preparation, Bayfield and the press? The tickets given to the Armed Forces? Bayfield encouraging Florence that the forces needed music in time of war?

18. The concert, her delay, the frustration of the manager, the crowds, Cosme arriving late? Her being encouraged, singing, the laughter, the catcalls? The blonde wife and her yelling at the forces, getting support for Florence, the positive response? Her singing from The Magic Flute?

19. The New York Post journalist, walking out, his devastating article, Bayfield and Cosme buying up all the copies of the paper? The rest of the reviews favourable, Florence reading them and being happy?

20. Florence and her friends at lunch, the man with the Post, Bayfield and Cosme arguing to buy it from him? $50? Florence and her going to the ladies’ room, going out, hearing the explanation about the sale of the papers, finding one in the rubbish, reading it, dismayed that people laughed at her, bewildered in the traffic, collapsing in the foyer?

21. In bed, her collapse, dying, Bayfield and his loving words, his lying with her?

22. The final credits, the photos of the real Florence, Bayfield and Cosme? The records and Cosme’s playing and Florence’s voice?

TRUE STORY

US, 2015, 99 minutes, Colour.
James Franco, Jonah Hill, Felicity Jones, Ethan Suplee.
Directed by Rupert Goold.

True Story is the title of the documentary book written by American journalist, Michael Finkel. The book is a true crime story.

Finkel was a significant journalist for the New York Times, doing stories for their magazine, travelling abroad and, at the beginning of this film, interviewing men in Africa for a story about oppression and violence. Whatever the reason, he falsified some of the information in his story which was widely circulated, having to give an account of himself to his bosses at the Times and being fired. Returning to his home in Montana, he was faced with questions about what he was to do with his life and career.

Then he was contacted by a prison inmate, Christian Longo, who told Finkel that he admired his work. He went to see Longo and began a series of conversations which led to the book.

This film, a first-time film from UK stage director Rupert Goold, opens with the New York Times but also with the aftermath of Longo’s killings, his wife and three children, with his going to Mexico, where, on being asked who he was, identified himself with and as Finkel.

One of the significant things about the film and its impact is that the two central leads have appeared in many comedies, sometimes together, the versatile James Franco, writer-director-actor, and comedian, Jonah Hill. Very little comedy with them here, Hill being very serious and honest as Finkel, Franco creating a character with touches of sympathy but also eliciting great antipathy from the audience.

The effect on Finkel is that he becomes interested, looks at Franco’s manuscript and drawings, pursues the interviews, writes the book, sometimes uncertain as to Longo’s guilt. Finkel is not always expressive and this is seen in his relationship with his wife, Felicity Jones. Later in the film, Finkel’s wife answers the phone call to Longo who exudes charm with her, complementing her. But then she goes to the prison, confronts Longo and, in one of the best scenes in the film, lambasts him as narcissistic.

The film takes us into the court proceedings, sees Longo pleading guilty to some charges and not guilty to others, many considering this a ploy for, at least, an appeal, but Longo suggesting the only other possible alternative, that his wife killed two of the children and he reacted to her violence.

Franco creates an intriguing character, probably bringing to life the narcissism of which he was accused, having lessons in how to write from Finkel – the final irony that Finkel never published again in the New York Times but that they accepted articles from prison from Longo.

Not an action packed thriller, but a serious look at true crime and the two central characters confronting one another in truth and lies.

1. Title? True crime? Michael Finkel, is experience of Christian Longo? His book?

2. The world of the journalist, International, Africa, the interviews there, photos? The New York office? The world of Michael Finkel? Montana, the winter, the home? Oregon, the town, homes, the bay, the bridge, courtrooms, prison? The musical score?

3. Introduction to Michael, Jonah Hill’s presence and performance? In Africa, the interview, the translator, the situation, the photos? His story, later admitting his fabrication of the story, five individuals put into one character? His search for his motivation? The success and publication? The bosses at the New York Times, the interviews, his being fired? His never appearing in the New York Times again – but Christian Longo supplying articles, irony?

4. Christian Longo, his story, the deaths of his wife and children, escaping to Mexico, taking Michael’s identity, cruising, the German backpacker, the candles in the Cathedral, the sexual encounter? His arrest? Prison? Awaiting trial?

5. His contacting Michael, praising his writing, Michael visiting, the discussions in detail, over the months, the deals about secrecy, publication? Christian wanting to learn how to write, Michael teaching him, the exercises and sentences about a topic, for example love, lies? Longo and his flattering Michael? The effect on Michael? Sending the manuscript with the story, the many pages, the dark drawings, Michael putting them on the wall? Issues of truth, believing Longo or not? Guilty or not?

6. The plea, his pleading guilty to 2 cases? Not guilty to the others? Michael and the encounter with the police officer, his asking for information, Michael refusing? The officer thinking that the plea was a ploy? The only alternative possibilities for the wife to have done the murders?

7. The character of Jill, the quality of her relationship with Michael, married life, her work, libraries and music? Awkwardness at home? Her support, puzzle? Looking at the documents on the wall? Holding the manuscript of the book and Michael’s reaction? Answering the phone to Longo, his charm, asking her to give a message to Michael?

8. The significance of her visit, his welcoming her, charm? The questions about his relationship with Michael? Her strong outburst against him, condemnation for hypocrisy, condemning him as completely narcissistic? Her going to the court with Michael?

9. The court sequences, Christian dressing, the plea, the interrogation of the witnesses, their giving evidence against him?

10. The flashbacks to the murders, his wife, her relationship with him, the children, playing? And the scenes of the killings?

11. Christian Longo and his life, a loser, changing jobs, stealing, his motivations, taking the children to Seussland, upset at their having no toys? His theorising about finding his wife killing their daughter, his anger and killing her? Her throwing the children from the bridge? The witnesses and the aftermath to the killings, his coming to work, expressing no feelings? Going to Mexico?

12. The judge, the members of the jury, the lawyers and the prosecution, defence? The delivery of the verdict? Going to do through? The harsh comments by the judge?

13. Longo back in prison, Michael disillusioned, talking with the lawyer and expressing his disgust with the lawyer saying he would have proved an unreliable witness? Christian Longo’s phone call, Michael’s visit, leaving in disgust? The book, its effect, the sales? Longo and his continuing to write?

14. The impact on understanding and emotions for this kind of true crime story?

THE SILENCES

Australia, 2015, 86 minutes, Colour.
Directed by Margot Nash.

Some years ago, Australian director Sophia Turkewicz made a memoir-film about her mother, Once My Mother, 2014. Now, director Margot Nash has given us a portrait of her mother. The film are well worth seeing. They serve as memoirs of particular times, as portraits of their mothers, with autobiographical insights about the directors themselves.

Ettie Nash was born in 1911 and died in 2004, a long life. She came from New Zealand, lived for some time in England in comfortable upper-class situations, went to India where she became engaged to an officer, but on her return home, found that he was reluctant to get married. In something of rebound, she married local agriculture expert, Albert Nash.They had three children, the oldest of whom we learned about later in the film, a sad story.

Margot had an older sister, Diana, and she comments that, while Diana was very introverted and had to take a responsible role in the family, Margot was mischievous and outgoing. In the 1940s they migrated to Melbourne where the father had a brewery job cultivating hops, and was very successful in this work. However, it is revealed that there was mental instability in the Nash family and this took its toll on their father and put pressure on their mother who also experienced depression.

Ettie was one of those disappointed persons who had hoped for something more prominent in her life, being an entertainer, but who was frustrated, experienced some bitterness and her daughter mentions that her mother had an acidic tongue.

We see that the daughters made good, Diana becoming a doctor, Margot breaking free in the 1970s and relishing that openness in Australian culture and mores, and then moving into making films, both features and documentaries, this biography incorporating quite a number of scenes from her films, especially the 1995 film, Vacant Possession, with Pamela Rabe and the character played by John Stanton representing her father, remembering his war experience as a navigator, and experiencing his mental collapse.

Towards the end of the film, the two sisters re-visit New Zealand, follow through on what happened to their older sister, get the remains of their mother and get some stones where they make cairns for their mother, father, sister.

Margot Nash relies on a great number of photos, on audio interviews with her mother and her sister to bring to life what was so often an unfortunate life.

1. A personal documentary? Impact?

2. Portrait, biography, human interest?

3. Implied autobiography of Margot Nash? Her voice-over? Tone of her voice, commentary, the interactions on tape with her mother, with her sister?

4. Photos, documents, footage, audio interviews? The research and editing and pace?

5. Getting audience attention, the New Zealand island, the discussion about the epitaph for her mother, differences with her sister? The two sisters working together at the end, burials, the stones of the cairns, their being uncovered? The dedication of the film?

6. Audience sharing the emotions of the filmmaker, of the characters? How did audiences identify with Margot, with Diana, with their mother, father, Felicity?

7. Introduction to the mother, born 1911, died 2004, her life, stern upbringing, severe mother, wanting to be an actress and performer? Going to England and her upper class experience, to India, falling in love, the information about Peter, his exaggerated story about himself, alleged illness, calling off the wedding, his letter about the wedding? The effect on her, the beautiful wedding dress, marrying her husband on the rebound? No Nashes at the wedding, the photos and story about them? Illness in the family, in the generations, institutions, suicide? Her husband and his mental condition, the war experiences as a pilot, navigator, its effect on him? Her pregnancy, the birth of Felicity, Felicity ill, in the institution, depression, her husband’s episodes? Building up to a divorce?

8. The two sisters, as little in New Zealand, the photos, the introduction, Diana introverted, Margot extroverted, causing trouble, school, Margot searching the house for secrets? Diana as an adult? Going to Australia? Living in Ringwood, the home, the creek and the snakes? School, late houses, the inner city apartment?

9. The surface life of the two girls, the deeper effects, especially for their adulthood?

10. The photo of their mother that they revered? Her life, disappointment with ambitions, acidic tongue? Cleaning, being busy, cooking? Her long life?

11. Their father, science degree, skills, to Melbourne to test hops, brewery support, his success?

12. Diana, doctor?

13. Margot, rebel, personal freedoms of the 1970s, the feature films, documentaries? The sequences from Vacant Possession and the dramatising of incidents in her life? John Stanton as her father?

14. The audio interviews with her mother, her mother’s tone of voice, communication? With her sister?

15. The search for Felicity, the matron, going to the grounds of the building, a better idea of Felicity’s experience, her name on the notice board? Not lost forever?

16. Margot Nash and her age, her sister, looking back? And the ritual at the ending of the film, bringing some kind of closure?

SPOOKS: THE GREATER GOOD/ MI-5

UK, 2015, 104 minutes, Colour.
Peter Firth, Kit Harrington, Tuppence Middleton, Elliot Leavey, Matthew Walker, Elyes Gabel, David Harewood, Jennifer Ehle, Tim Mc Inerney, Lara Pulver.

1. The popularity of TV series? This plot for a full-length film? The return of the members of the cast?

2. Title, with the slang, the American title, MI-5? Public knowledge of the spy organisation? Spies, agents, infiltration surveillance, terror situations, arrests, set-ups?

3. The London settings, in great detail? Whitehall, MI5, Shaftesbury Avenue and the theatres, Southwark, Brixton market? Moscow? Berlin, Alexanderplatz? The Kent coast? The British atmosphere? International? The musical score?

4. The introduction to Qasim, prisoner in the van, the traffic hold-up, communications amongst the officials, Harry supervising on the spot, Oliver and his presence, Geraldine and her assistant? The driver of the van, June in the van? The bikes, the surveillance, the helicopter, Harry and his decision, freeing Qasim, the pursuit and the death of the agent? The effect on June?

5. Harry, making the decision to let Qasim go? His visit to the grave, conversation with the spy who had infiltrated – and her later being captured, tortured, Harry to hold the gun unwillingly, pulling the trigger? Qasim’s reaction an agreement to the deal? Harry on the Bridge, the camera times and inconsistency? On the Kent coast, with Qasim, discussions, the deal, Harry wanting to know who was the official undermining the Department?

6. Espionage, MI5 and a weaker Britain, the American reaction, the officials, Oliver and his patriotism, Francis and his impatience?

7. Russia, Will Holloway, his being collected, Moscow and the agents, the story of his past, Harry dismissing him, the new mission, Harry calling him, Oliver using the hold over Holloway and the death of his father?

8. Will Holloway, his character, age, father, espionage, work in Moscow? Contact with Harry, following the leads, the clues, the spies following him, his communicating with them? Heathrow, the other terminal, the security check on Will and Harry leaving?

9. Francis, the concert in Shaftesbury Avenue, performance, Francis talking to the bomber, is being challenged, the explosion and his death?

10. Qasim and his plan, the factory, making the explosives, the targets in London, his motivation, his wife, pregnant?

11. Harry, his plan, going to Berlin, Alexanderplatz, contacts, to get the wife for the exchange, Will and June finding him, her explanations, part of the plan?

12. June, Will going to see her, the information, going to the flat of the controller, the incriminating document in the rubbish, shooting him? Later revealing that she was under orders?

13. Qasim, his wife, pregnant, dead? The phone calls, standing on Waterloo Bridge, facing South? Harry and the official disguised as the wife? The sniper? Phone calls? The turning around, being shot, the vest? Will confronting the sniper, his fall to his death?

14. The information, the raid on the factory, the arrests?

15. Qasim, coming into MI5, the locked rooms, the confrontation, Will and June and their hiding? Harry, the interrogation, his giving the information to Will? Qasim getting in, asking questions, shooting Geraldine’s assistant?

16. The debriefing, the identification of the traitors, those who were loyal?

17. Geraldine, in the country, her niece, Harry confronting her, the talk about the escape through the poison, the description of the poison, her not feeling well, having taken the poison unwittingly, the mystified look, her death?

18. Harry, succeeding, Will, Harry giving him his father’s ring and telling him the story?

MALIBU’s MOST WANTED

US, 2003, 86 minutes, Colour.
Jamie Kennedy, Taye Diggs, Anthony Anderson, Regina Hall, Blair Underwood, Damien Dante Wayans, Ryan O’ Neal, Bo Derek, Jeffrey Tambor, Kal Penn, Nick Swordson.
Directed by John Whitesell.

Enjoyment of Malibu’s Most Wanted will certainly depend on taste. The director has made some broad comedies including Deck the Hall and two of Martin Lawrence’s Big Momma movies. This one precedes them.

Jamie Kennedy, who is probably an acquired taste, plays the wealthy son of a senator who is campaigning to become governor of California, Ryan O’ Neal with Bo Derek as his wife, actually given very few lines! The flashbacks show that as a child his parents neglected Brad/ B-rad and that he could listen to a great deal of hip-hop, deciding as a teenager to become a hip-hop artist and adopt all the language, mannerisms and swagger of African- American hip-hop artists. He carries on with this throughout the film which is sometimes hard to take even though he puts all his effort into the parody.

He interrupts his father’s campaign, controlled in a very studied manner by Blair Underwood and the staff who want to get rid of the son so that he will not spoil chances of election. His father goes along with a plan, after looking at a commercial done with African- American actors playing basketball and talking about everyone being united. They have trained at drama school, even Carnegie, and agree to payment to impersonate thugs from the hood, to abduct the son and try to pressurise him into dropping all his hip-hop and African- American swagger and become a proper white boy again. They encourage their friend, Shondra, played by Regina Hall to join in the plan.

She approaches B-rad, certainly engages all his sexual attention, and promises to take him to meet Doctor Dre but leads him into the abduction situation. In the meantime, the two actors, Taye Diggs and Anthony Anderson who want to be respectable actors spend some time rehearsing, adopting all the language and mannerisms which they then turn on the unsuspecting victim. taking him to a club and pay the managers to get him up on stage to do a hip-hop routine which ends in disaster when he uses the word “nigger”. He has been warned by Shondra and realises he should have made good his escape – but then he becomes the victim of Shondra’s boyfriend and actual gangsters then try to abduct him. He makes a great sensation by deciding to take a stand, getting the machine guns, on top of the car, firing everywhere and scattering the enemy only to be filmed and appear on television as a white terrorist, alarming his father who then wants to go and rescue his son and reunite with him, alarming the advisers who are fired.

There are confessions all round, the father crashing his truck into the boyfriend’s club and the friends of B-rad, armed with high ammunition, crash into the other side.

Various confrontations, the father accepting his son as his, Shondra getting the money to open beauty salons and there are officially being opened to all kinds of hoopla.

The film is amusing in conception and will depend on the readiness to accept Jamie Kennedy in his role as well as enjoying the supporting cast including Ryan O’ Neill 30 years after Love Story and Bo Derek almost a quarter of a century after 10.

MIA MADRE/MY MOTHER

Italy, 2015, 106 minutes, Colour.
Margherita Buy, John Turturro, Nanni Moretti, Giulia Lazzarini.
Directed by Nanni Moretti.

This is a film about death and dying, written and directed by celebrated Italian director, Nanni Moretti. He has treated serious themes of death in previous films including Dear Diary and, especially, the Golden Palm winner at Cannes, 2002, The Son’s Room. He draws on experience, and this time on very personal experience, his mother dying while he was making his previous film, Habemus Papam, We Have a Pope.

But this is a very different autobiographical film. Instead of casting himself as the director, Moretti changes the director into a woman, played very effectively by Margherita Buy. She is not a very sympathetic character. instead, Moretti gives himself a lesser role, the director’s brother, who has given up his job to spend time with his dying mother, sensitive to her needs, sitting with her, a son acting in an ideal way.

Giulia Lazzarini, 80 of the time of making the film, makes the dying Ada convincing. She has been a strong woman, a teacher devoted to her pupils, relishing her books and study methods, an expert in the classics and, especially, Latin which she is coaching her granddaughter in. She is ill, in hospital, IV treatment, declining at one stage, with the decision, though she is unwilling and fearful, to take her home so that she can die in her own house.

There is a parallel plot throughout the film, the actual film, about workers in clashes with company authorities and difficulties about contracts with strikes, which Margherita is directing. it is here that we see the real Margherita, not the daughter moved by her mother’s plight while struggling how to express this, but a taskmaster with very few kind words to staff or crew. This comes to a head when she employs an egotistical American actor, played expertly by John Turturro, who struggles with his Italian and pronunciation, inflates stories about himself and his career, especially concerning Stanley Kubrick, an impatient man who begins to forget his lines and does not take easily to the director’s demands. This puts Margherita even more on edge, compounded by a relationship with her former husband, her daughter, and the breakup of a relationship with one of her actors.

Later in the film, Margherita summons the actor and there is a most significant conversation or, rather, an almost monologue by the actor telling her the truth about herself, her coldness, her demands, the poor effect she has on everyone – later compounded by an outburst from the angry actor, and gently confirmed by her brother agreeing with everybody’s diagnosis.

So, the film keeps moving from one plot to the other, making the character studies of mother and daughter dramatically complex, emotionally complex.

This is a skilful film about film making in Italy, the mechanics, the logistics, impressively showing several scenes in production, strike action, filming driving, the personal relationships, the challenges and demands. it is also a skilful film in portraying the character of a director caught up in professional demands as well as a private story – something Federico Fellini did many decades ago in different ways in 8 ½. And Moretti makes the film even more significant by making his director female.

Advertising for the film highlights “warm”. This is not exactly an adjective to describe the film or the characters, except the son and the granddaughter. It is much tougher than warm. And its complexities give the audience a great deal of human responses to reflect on.

The advertising posters make a great deal of the fact that Mia Madre won the Ecumenical Award in Cannes, 2015.

1. A film about death and dying? The effect on the person dying, on close family members? Denial, support?

2. The director, his previous films and the treatment of death? The experience of the death of his mother while filming? Substituting a female character for himself as director? Giving himself a more sympathetic role as the brother?

3. Italian atmosphere, the city, apartments, shops, hospital, the film sets?

4. The musical score, the range of music selections and composers?

5. The narrative of Ada’s dying and death? The range of flashbacks, the dreams?

6. The focus on the mother dying, age, illness, the touches of dementia, her appearance, in the hospital, the room, bed, the IV treatment, care? The past, her career, teacher, her books and notes, love of Latin? With Margherita? With Giovanni? Her memories? The visits, Lydia, coaching and Latin? Going back to her home, becoming weaker, dying?

7. The focus on Margherita, her life, her memories and dreams, relationships, fond of her mother, of her daughter? Something of a cold manner? Her visits, going to the deli, her brother bringing the better meal? Talking with her mother, nodding off to sleep, the range of dreams, terror, fears? Dreams of death, the flood in the room and her exasperation, mopping? Her relationship with her ex-husband? With Olivia, Livia’s visits, study? Training her on the scooter with her ex-husband? Her being summoned to her mother’s dying? Her relying on Giovanni?

8. Margherita, her movie, the opening sequence of the clash between the workers and the police, close-ups? Her emerging as director, her interactions with the crew, the cast, being critical? Never satisfied? Meeting Barry, the drive, her reaction to him, the meal and his drinking, loud, the discussions about Kubrick? Margherita directing his scenes, in the factory, driving the car, the cafeteria, the discussions about the contract? His Italian, limited, bad pronunciations? Forgetting his lines? Margherita saying stop? Her anger, his anger, primadonna behaviour, her film?

9. Giovanni, pleasant, care for his mother, resigning from his job, not wanting to continue, meals, sitting with his mother, the meal for Barry? Continued support?

10. Vittorio, member of the cast, the relationship with Margherita, his packing and leaving? Margherita summoning him, his strong talk to her? An important talk for the audience to understand Margherita? Giovanni agreeing? The possibilities for her changing, attitude towards her mother, to the crew, to Barry? Her trying?

11. Barry, American, his Italian, accent? His career, pride, boasting, the lies about Kubrick? Drinking? Performance, forgetting his lines, his anger, temperament, denouncing the dialogue, the film? The clashes with Margherita? Anger at her saying stop? The touch of mellowing, the meal at her house with Giovanni, the birthday celebration, the dance with the costume designer? His final performance and success?

12. Livia, age, relationship with her mother, her father, loving her grandmother, the Latin, the study? The scooter? The news of her grandmother dying, covering herself in bed, she and her father going? Sitting and attending?

13. Margherita called from the set, going to her mother, the dying and its effect, the packing up of the goods and the books, the empty room with the boxes? The final close-up of Margherita?

GOD’S NOT DEAD 2

US, 2016, 120 minutes, Colour.
Melissa Joan Hart, Jesse Metcalfe, Pat Boone, David A.R. White, Benjamin A. Onyang, Ray Wise, Hayley Orrontia, Robin Givens, Trish Lafarche, Paul Kwo, Fred Dalton Thompson.
Directed by Harold Cronk.


In 2014, the Faith-film, God is Not Dead, received a worldwide release. In more recent years, Faith-films, produced in the United States, have shown expertise in craft and have become big box office there. Beyond the United States (or, within different states in the US) these films play to their target audiences, those with Bible-based Christianity, relying on literal interpretation, and at least to that extent fundamentalist.

These communities have come to the fore during 2016, especially with the campaigning for the US presidency. There has often been quite some conflict between these religious groups and “secular” groups in terms of moral issues, especially abortion, homosexuality, same-sex unions. In fact, these issues are not brought up in this film which presents the Christians as committed, fervent, prepared to protest and campaign for their faith.

The original film centred on a university course and intellectual and philosophical debates about God and the proofs for the existence of God as well as of faith. Audiences, fundamentalist or not, who are interested in such proofs found the film of interest. But, it is the type of film, with its proof-dialogue, which is quickly dismissed by those of a more atheistic disposition. The conclusion was that God was not dead. It was a subplot involving a journalist who lacked faith but who discovered she had cancer and who prayed and was healed. A Christian music group, the Newsboys, also featured.

The journalist healed from cancer and The Newsboys are back in the sequel. This time it is not an intellectual debate – although a great deal of time is given to the proof of the existence of the historical Jesus. This time the centre of the film is a court case.

Television star, Melissa Joan Hart (Sabrina) is a faith-committed teacher at a local school. She is supported by her grandfather whom she cares for – Pat Boone, at 82, still proving himself evangelical (with some good one-liners: for instance, atheists destroy but they don’t destroy the pain). At school, she answers a question about the teaching of Martin Luther King and that of Gandhi and quotes the Gospel sermon on the Mount on nonviolence. She is reported to the principal (Robin Givens) and called before the school board who tells her that she has broken the law, proselytising in the classroom.

The parents of the girl who raised the issue are secular and take the teacher to court. She is allotted a lawyer, Jesse Metcalfe, who wanted to apologise so that everything is over and done with. She is committed to her cause, suffers a great deal during the case, especially with the always sinister -looking prosecutor, Ray Wise and even a final ordeal from her own lawyer. The judge, Ernie Hudson, is not particularly sympathetic.

To non-American eyes, the case seems somewhat silly, it being evident that this was a history class, a history question was answered with history reference irrespective of the faith commitment of the teacher. However, those against the teacher, protesting outside aggressively, media person0alities critical, are portrayed as self-righteous and intolerant. Young people support the teacher. She is shown to be willing to be a martyr for her faith and commitment to Jesus as her personal saviour.

With the issue, the possibility for featured to refer to religion, to religious teaching, in a school is something that most people would happily tolerate taught The other issues in the moral area have led to what could be labelled as viciousness on both sides. This is not part of the screenplay is. hostile critics of this film are quick to point out that Christians can be vicious and intolerant in their protests of bringing the literal Bible passages to bear on moral issues.

The film was quite emotional – on both sides, but involving its audience in the Christian cause and for religious freedom. As with the first film, there is an emotional rally climax with a song by The Newsboys.

The setting is Arkansas. At one stage the Christian pastors are ordered by law to submit the texts of all their sermons for the previous three months. One pastor who has featured in each film, with his own name, David A. R. White, has refused and an epilogue to the film has his arrest – and the potential for God’s Not Dead 3.



1. The title? Evocation? For faith-audiences? Non-faith audiences?

2. The target for the film, Christians, Bible-based Christians? The impact for Christians less fundamentalist?

3. The original film, a debate about God, the proofs of the existence of God, atheistic characters, student characters, professors? The theme of healing and prayer? The choir and the Newsboys?

4. This film and its focus, the right of Christians to proclaim their faith, court case, the challenge to faith?

5. American law, separation of church and state? Rights to faith and expression of faith? Hostilities to faith, Christianity? Assertion of faith? Secular opposition? Antagonism towards Christians, in the law, the media?

6. The film not taking up moral issues and their controversies, the strong stances on either side? But the film presupposing faith rights? The role of proselytising, contexts for proselytising? Sharing faith? In schools, outside schools? The role of sermons?

7. The character of Grace, Melissa Joan Hart (and her role as Sabrina)? Teacher, her age, looking after her grandfather, the bond between them? At school, friendly, the other teachers? Teaching history? Empathy for students, the meeting with Brooke? Professing her faith in Jesus as personal saviour? The class topic, quoting Martin Luther King, discussing Gundy, principles of non-violence? The reference to the gospel, Grace quoting the text? Brooks family,

8. Brook's family, secular parents, and wishes, the dead son, Brooke and her grief, wanting time with her brother, moving the boxes, the gift of the Bible, the markers, her reading it, the getting to know her brother, the surprise about his Christianity? The parents and their suing grace?

9. The complaint, the meeting with the school principal, a strong stances? Grace called before the Board, their hostility? The union advocate with her? The later testimony in court, the criticisms of the principal? The criticisms of the union advocate, saying that Grace was always talking about her faith and asked to give specific instances? Grace asserting his stance? Supported by her grandfather?

10. Pat Boone is the grandfather, his religious history? His comment about the first human right being to know the right to know Jesus? His comment about atheism taking away hope but not the pain? His comment when Grace was finding faith and prayer hard – the fact that God seems distant, and his comment that during a test, the teacher keeps quiet, leaving the student to respond?

11. The appointment of the lawyer, his age and experience, ambitions, not wanting the case, discussions with Grace? Suggesting she make an apology? Wanting everything to go? Her refusal? Is been conscientious, this cross examination of the witnesses, the judge rebuking him for going too far? Grace wanting Brooke to take the stand, the prosecutor twisting Brooke’s remarks? Lawyer and is reading the books, the issue of history, quoting Jesus as a historical character, the witnesses and their testimony about the historicity of Jesus, non-Christian references? This final stunt, challenging grace, coming down hard, her reaction, on the whole court?

12. The prosecutor, a sinister smile, his confidence, his team, the cross examinations? His comments on Grace’s lawyer and his look, the shoes?

13. The stances of the judge – and generally not sympathetic to grace?

14. Pastor White, from the previous film, his work as a pastor? Martin writing, from the previous film, his range of questions? Martin and his Christian beliefs, wanting to be a minister, to return to his own country, his father coming and denouncing him? Martin the church, being asked questions by Brooke? The pastor and his friendship with dude, from Africa? The bond between them? The pastor and is being called for jury service, listening attentively, his collapse, in hospital? The pastors and their saying they had to hand in their sermons from the last three months, the law, his going to the office, is envelope of refusal?

15. The effect on Brooke, her friends, their protests?

16. The News boys, the woman who is cured, contact with her, her coming to the court, the discussions, the stances, with the media?

17. The effect on grace? Protests in support of her? The chant that God was not dead?

18. The News boys, the concert, asking everybody to pray?

19. The jury, the young Christian girl on the jury, listening to the lawyers outburst? Grace innocent?

20. The defence of the rights of the Christians? The touches of demonising the secular opposition, secular despotism? The issues between teaching and preaching?

21. The historicity of Jesus – literal Bible studies, seeing the Gospels as forensic documents? Especially with the eye example of Jesus before and this and no reference to Isaiah 50 and it’s been the fulfilment of that recap servant text?

22. The overall effect of the film? The rights of Christians? Of the still further question about the rights of the pastors and their sermons? In the film not including the rather harsh stances on sexual and moral issues?

THE MILLIONAIRE

US, 1931, 80 minutes, Black and white
George Arliss, Florence Arliss, David Manners, Evelyn Knapp, Noah Beery, James Cagney, J. Farrell Macdonald.
Directed by John G. Adolfi.

George Arliss had a very successful screen career although he did not start to act until he was in his 50s. He won the Academy Award in 1929 as Best Actor for Disraeli. He made a number of brief films in the United States in the early 30s including this one as well as The Kings Vacation and Working Man. He was to go on to play Rothschild, Cardinal Richelieu, and the Duke of Wellington.

This is a story about the car industry in the 1930s, a successful company aiming for quality, but the founder and president is found to be too sick to continue, is advised to go west and stay in a health resort. He is bored to tears, resents his medication but is visited by an insurance agent, a very vivid two minutes or so from James Cagney urging him to look at opportunity ads. Florence Arliss plays his wife and Evelyn Knapp his daughter with David Manners as his business partner when he establishes a service station to occupy himself – but they are tricked by an owner, played by Noah Beery, who sets up a rival station.

The film was directed by John G.Adolfi who directed George Arliss in several films.

1. A 1930 story, film style? Black-and-white photography, the cast, the score?

2. The title, Jim Alden, the presence of George Arliss? His origins, working with engines, working class, marrying his wife, establishing the company, standards of excellence, the loyalty of the staff? His age, turning 60, the challenges about expenses and material? Not accepting the resignation of his staff? The visit of the doctor, examination, his being unwell? His farewell to the staff?

3. Manufacture of cars in the 1930s, the scenes in the factory, industry, marketing? Service stations?

4. After six months of the resort, his wife, relationship with his daughter, obeying the doctor, the medication, the rest? Davis and his fussing?

5. The visit of the insurance man, a vital sequence from James Cagney? The advertisements, finding the ad about the garage?

6. The deal, the owner, the notary, the legal adviser, Alden and his partner, their being tricked? Signing the check in Charlie Miller’s name? Bill, his enthusiasm, wanting to be an architect?

7. The opening of the highway, the opening of the rival garage? No sales? The decision to sell? The visit to the site opposite the garage? The decision to renovate, Bill and his architectural design, getting the money from his aunt? Wanting to ask Alden for money, Charlie forbidding him, his going to the house, the refusal, despite Babs intervention?

8. The opening of the new garage, the Mission design, the reactions of the opposition? Lowering the prices, Jim advertising for better quality? Customers’ reactions?

9. Babs, her visit, discovering her father, keeping the secret? Attracted to Bill? Going out with him, the previous suitor and his being unsuitable, no work and visiting his committees? Alden warning his daughter?

10. His wife, the outing, going to the garage – and Jim concealing himself and her never knowing, until he kissed her?

11. The visit of the doctor, Jim being well, being occupied, not taking his medication? The visit of the doctor on behalf of the managers? Asking him to come back? The doctor agreeing?

12. Jim regaining his health, his wife happy, Babs and her engagement with Bill, the return to work and happy ending?

SHAKESPEARE LIVE

UK, 2016, 160 minutes, Colour.
David Tennant, Catherine Tate, Judi Dench, Joseph Fiennes, Al Murray, Simon Russell Beale, Roger Allam, Harriet Walter, Benedict Cumberbatch, Helen Mirren, Ian Mc Kellen, Tim Minchin, Rory Kinnear, Anne- Marie Duff, Henry Goodman, Rufus Hound, Rufus Wainwright.
Directed by Gregory Doran.

A Shakespearean feast!

This is a wonderful anthology of Shakespearean entertainment. Director Gregory Doran introduces this celebration of Shakespeare’s 400 centenary, performed at Stratford on Avon on 23rd April 2016. While Doran gives the background of Shakespeare’s town, the theatres, the performances, a huge cast of noted Shakespearean actors with support from the members of the Royal Shakespeare Company, it is not simply a filmed event of portions of Shakespeare’s plays. though, indeed it is that. Throughout the performance there are short films hosted by Joseph Fiennes taking the audience through various seasons and years of Shakespeare’s life, the two of Stratford on Avon.

While the words are paramount, there is a great deal of music and dancing. It is a celebration of how Shakespeare has influenced culture over four centuries, including opera excerpts from Berlioz and Verdi, a pas de deux from Romeo and Juliet, an extraordinary contemporary dance performance of the death of Desdemona to the music of Duke Ellington. Tonight from West Side Story opens the proceedings and there is a most entertaining opportunity to Brush Up Your Shakespeare in Cole Porter’s song from Kiss Me Kate, and engage really comic performance, with encores, from Henry Goodman and Rufus Hound..

The hosts for the evening were David Tennant (not sounding like Dr Who but in his native Scot’s brogue) and comedian, Catherine Tate. She immediately sets the tone with a vivid rendition of Jacques’ Seven Ages speech from As You Like It, each phase represented on stage from baby to ancient.

One of the features of the celebration is the number of songs from the plays themselves as well as music derived from the plays, including a lively hip-hop song comprising significant quotes, and a song from Rufus Wainwright and male choir.

There are soliloquies, Simon Russell Beale with John of Gaunt’s This Sceptred Isle from Richard II, Roger Allum as King Lear inveighing against the storm, Harriet Walter as the dying Cleopatra, Helen Mirren as Prospero. Most of us do not know the speech by Sir Thomas more from Shakespeare’s contribution to a play on Henry VIII, a vigorous lament and indictment of attitude towards migrants, spoken with passion by Ian Mc Kellen, and relevant right now.

There are some very funny moments when an actor, Paapa Essiedu, begins To be or not to be and is suddenly interrupted by Tim Minchin urging him to put his accent on “or”, only to be followed by a whole range of actors each with their different emphasis on different words, including Benedict Cumberbatch, Rory Kinnear, Judi Dench, Ian Mc Kellen. the famous soliloquy then presented excellently and in all seriousness by Esseidu. News bulletins at the time gave away the ending of this scene with Prince Charles coming on stage to give his particular emphasis on the “question”.

The scenes from the plays are striking, Rory Kinnear and Anne- Marie Duff as Macbeth and Lady Macbeth in the aftermath of the murder of Duncan, Judi Dench and Al Murray making the encounter between Titania and Bottom more hilarious than usual, Anthony Sher flaunting himself as Falstaff.

A grand climax with all actors singers and dancers on stage, David Suchet and Judi Dench as Oberon and Titania, with David Tennant reciting Puck’s words from A Midsummer night’s Dream.

This is a sometimes exhilarating opportunity for Shakespeare lovers, for those who want to brush up their Shakespeare – and could prove a fine opportunity for those who want to broaden and deepen their familiarity, as well as on occasion for those wary of Shakespeare to enter into his world of word and of music.

SUBMARINE


UK, 2011, 97 minutes, Colour.
Craig Roberts, Noah Taylor, Sally Hawkins, Yasmin Paige, Paddy Considine.
Directed by Richard Ayoade.

What is it like to be an introspectively smart young adolescent who is gawky on the outside, prone to being mocked and bullied? Especially, if you have nice but eccentric parents – and there is an introverted hormonal crisis that wants to extravert itself?

You might not get so many answers while watching Submarine, but you will get to know a youngster who takes things seriously and who experiences the teenage confusions.

Craig Roberts is certainly a find in the role of 15 year old Oliver (though the Internet Movie Database indicates that he has been on the big and small screens for some time). He is on screen most of the film, confiding in the audience, inviting us to share his feelings and puzzles. What complicates matters is that he is attracted to a girl in his class, Jordana (Yasmin Paige, also very effective). He is a good companion to her, especially when her mother has terminal cancer – and then he blows it. It seems he has lost his chance and Jordana takes up with another boy in the class.

But, Oliver is also concerned about his parents. His father is a sea-life academic, rather withdrawn, but has lost his job and works at home. Noah Taylor makes this seemingly unlikely character quite credible. Then there is Oliver’s mother (a different kind of role for Sally Hawkins) who tends to be prim and organised but who is attracted to an old flame (Paddy Considine) who turns up and plays with her affections. Oliver is determined to break up any possible relationship.

So, there we are in a coastal town in Wales, keeping the company of an earnest, searching young lad, experiencing his feelings, his desires and his mistakes, hoping that he will grow into a sensible man and that he will bring his parents together again.

It’s a small-budget film but very effective in its modest way.

1. Praise and awards? A film about adolescence, coming-of-age?

2. The director, his career as writer and actor?

3. Wales, the town, home, school, the woods, the sea and the beach?

4. The musical score, the range of songs, expressing Oliver’s perspective?

5. The image of the submarine, inner and outer life, Oliver’s explanations?

6. Oliver’s point of view, the prologue, at school, the epilogue and the two chapters in between? The focus on Jordana? The focus on Graham? Oliver and his film knowledge, talking about a film about himself, images, voice-over, techniques?

7. The portrait of Oliver, his look, height, clothes, coat, suit, hair, serious face? His age? Relationship to his parents? Their troubles? Spying on them, their sexual behaviour and the lights, his mother’s box of photos, his father’s tablets? Talking with them or not?

8. At school, the boys, the girls, the desk, passing notes, rude notes, reaction of the teacher, saved by the bell? His being pushed, taunted, bullied? His focus on Jordana, the crush, describing her, imagining her? Movie images? Contrast with Zoe, the big girl, taunted, the chase in the woods, grabbing her bag, throwing it, Oliver and his pull, her fall into the puddle, the aftermath, his excuses? The boys and the further notes, having to read them aloud? Jordana and her reaction? The teacher’s ultimate sympathy, especially towards Oliver’s feelings and depression?

9. Jordana, her age, in her uniform, her hat, look, hair? In class? Looking at Oliver? The other boys and their reactions? On the beach, talking, her watching him, the taunts, listening to him, going to the house, the frankness, sex, Oliver and the house and the preparation for the dinner, her arrival, talk, awkwardness, leaving, return, the sexual encounter, the talk afterwards, the change in her, the change in him? his reading note in class and her going with the other boy? On the beach, with the dog, going further into the water, Oliver following, her response to him?

10. Picture of the boys, Oliver’s friends, the notes in class, the taunting outside?

11. Graham and his wife moving in next door, Oliver watching with binoculars, sexual activity? His reaction, dislike of Graham? The visits?

12. His mother, hard-working, with Oliver, please that he had a girlfriend, the tensions with her husband, looking in the box with her pictures, meeting Graham, Oliver and his kissing Jordana as he watched them? At home, watching his mother with the box, not wanting a relationship with Graham? The story of his father, academic, losing his jobs, his expertise, work in the office – but people not appreciating it? His working at home? Depressed, the tablets? Talking with Oliver about relationships? His attitude towards Graham, knowing that he had won his wife from Graham?

13. Oliver, in the house, his parents in bed, their reconciliation?

14. Oliver’s journey, age, education, relationships, sexuality, communication, maturing?