HAVING YOU

UK, 2013, 92 minutes, Colour.
Anna Friel, Andrew Buchan, Romola Garai, Phil Davis, Isaac Andrews, Stephen Cree, Harry Hadden- Paton, Hattie Morahan.
Directed by Sam Hoare.

Having You Seems a rather slight title for the interesting and emotional drama that unfolds.

We are introduced to Anna, Anna Friel, a rather distraught mother, a psychic, making phone calls, moving house, with a young son, Phoenix, Isaac Andrews. Then we are introduced to a seemingly happy couple, together nine years, Jack, Andrew Buchan, and Camilla, Romola Garai (who is married to the film’s director, Sam Hoare). All seems well with them, not having contemplated marriage but on a visit to Camilla’s pregnant friend and jibes from her husband, Jack gets the idea of proposing – and a weeping Camilla in the restaurant accepts.

The drama intensifies when Anna visits Jack with her young son, talking of paternity, offering him kits for paternity tests, which he takes and discovers that the claim is true, a one night stand in the past when he was trying to overcome his alcoholism and Camilla had suffered a miscarriage. It seems that Camilla cannot conceive children but, in fact does, and is advised not to undergo any stress so Jack does not tell her the truth. In the meantime, he pays visits to Anna and the boy, gradually making friends with him.

When the boy is injured in the playground and Jack takes him to the hospital where Camilla works, the truth emerges and Camilla ousts Jack who tries to explain and apologise. He moves out, and continues his contact with the boy and with Anna. But, Anna has a secret, she is terminally ill, had wanted to introduce Jack to his son – and he promises to take care of him.

Phil Davis gives a strong performance as Jack’s demanding father.

While the screenplay does not fully bring the film to a tearfully happy ending, it suggests what is going to happen – positively.

A small film, quite affecting in its way.

1. A drama about relationships, commitment, children, illness and death? An emotional film?

2. The British settings, towns, homes, workplaces, hospitals, playgrounds, parks? The musical score?

3. The title – and its relevance for each of the characters and relationships?

4. The introduction to Anna, as a psychic, moving, her son, Phoenix, her love and care for him? On the phone? Her later entry into the story, her coming to see Jack, wary, her news, about her son, his paternity, their one night stand, her leaving him with the DNA paternity tests?

5. Jack and Camilla, together for nine years, living together, comfortably together, loving each other? the past? Jack and his being an alcoholic, reforming, seven years without a drink? The role of Camilla? The sadness of her miscarriage? Her sessions with the doctors, the tests, her “inhospitable womb”? Her work at the hospital?

6. Jack, seeing himself as a failure, the back story, his mother and her abandoning him and his father, his father bringing him up, the stern father, playing chess, feeling he disappointed his father, yet moving with Camilla to be near him and the father never visiting them? His work, his partnership with Paul, slot machines, videogames, repairs, sales and rent? His prospects, the visit with Barry and Lucy, Lucy’s pregnancy, discussions about marriage, the restaurant and his proposal, Camilla weeping, accepting?

7. Jack, the news, not telling Camilla, Camilla becoming pregnant, the warning for her not to have stress? His continued devotion to her? His work, eventually telling Paul? The visits with Anna and Phoenix, at home, tentative talking with the boy, playing with him, at the park, gradual trust? Anna and her observing?

8. Jack ignoring Anna’s phone calls, her visit to the house, seeing that Camilla was pregnant? Her challenge to Jack?

9. Jack, his indecision, discussions with Paul, the better prospects the job, getting an international contract, the money? The issue of Paul as best man – and Jack thinking him reckless? The visit to Barry and Lucy, Barry letting Jack know that he had seen the group at the aquarium? Barry, love for Lucy, but his sleazy attitude towards relationships and indiscretions, men being men? Jack disliking him? And yet Lucy promoting him for his expertise in preparing the wedding?

10. Jack, the visit to his father, the walk in the park? His father later visiting him, his harsh taunts, the bitterness towards his wife and her leaving, his self-sacrifice in daily work, providing for his son? Not answering about Jack being a disappointment? His bringing the bottle of alcohol, testing Jack, taunting him? The fact that he was an alcoholic, that he could never change? Jack, the temptation, going to Paul and Paul’s support, Jack inviting him to be best man?

11. The playground, the accident, taking Phoenix to the hospital, Camilla seeing the situation, being hurt, looking after the boy? Not wanting to discuss with Jack, ordering him to leave the house? His later return, Barry’s presence, her refusal?

12. Moving out, the flat? The decision to get another house, to provide for Phoenix? Phoenix visiting the house, the two and their time together, bonding? Jack’s explanation of his situation and the one night stand?

13. Anna’s collapse, the hospital, Camilla getting in touch with Jack, the terminal illness and her not telling people? Her wanting Jack to take her son, care for him? her wanting Phoenix to remember her as she was rather than as in the hospital and dying? The final visits, her writing the letter and her bequeathing her ideals and hopes to Phoenix?

14. Jack and Phoenix, acknowledging that he was the father, Phoenix accepting this?

15. The glimpse of Camilla and Jack together – and audience hopes for the future, together, marriage, adopting Phoenix, and Camilla giving birth to another child?

ONE WILD MOMENT/ UN MOMENT D’EGAREMENT

France, 105 minutes, 2015 Colour.
Vincent Cassel, François Cluzet, Lola Le Lann, Alice Isaaz.
Directed by Jean- François Richet.


One Wild Moment/ Un moment d’egarement is a remake of a 1977 film of the same title, directed by distinguished French director, Claude Berri (Jean de Florette and Manon of the Springs).

It is very French in its characters and in situations, especially concerning parents, fathers, the younger generation of teenage girls, sexuality – and both a sense of freedom in morals as well as a strictness in perspective.

Two a middle-aged fathers, one divorced. (Vincent Cassel), the other having difficulties with his wife and the possibility of separation (François Cluzet). They go to a resort in Corsica with their daughters, Cassel being more permissive concerning his daughter and her going out, Cluzet more concerned with control and curfews. The girls tend to go their own ways, going into the town, teaming up with boys, getting back late…

The main crux of the drama is the Lolita-like behaviour of Cluzet’s daughter, being provocative with Cassel, Is allowing himself to be seduced and compromised, his regrets and trying to remedy the situation, not informing his friend. However, Cluzet is dementedly suspicious, suspects a local who is, in fact, gay, and bashes him.

Quite a lot of dramatic tension, the daughter having a self-absorbed carefree attitude, putting herself in compromising situations. At the end, guilt is admitted, there is a clash – a sobering experience for Cassel and challenging parental crisis for Cluzet.

1. A French story, family, teenagers, generation differences, parenting, love and sexuality?

2. Corsica, the landscapes, the road, the sea, beaches, the house, climbing the cliffs? Country life? The contrast with socials, parties? The musical score?

3. Laurent and Antoine, their age, each with a daughter, divorced and married, separations, the house, climbing the cliffs? Issues of parenting, discipline?

4. Louna and Marie, their age, going out, not coming back as requested, on the scooters, the boys, drinking? The scaling the cliff, the swim, Lugar leaving her breast exposed, looking at Laurent, seductive? By themselves? Her contriving the situation to be alone with him, at the beach, coming on to him? His response? The sexual encounter? Marie and her realisation of what happened, antagonism towards Louna, towards her father? The girl talk?

5. Laurent, the effect on him? Unable to tell Antoine? Antoine, preoccupation with the boar, going to the shops, catalogues and his studying them? The gun, pursuing the boar?

6. Marie, intervening with Louna, seeing her going from the room, criticising her father, anger at Louna?

7. Antoine, his wife, the separation, his being unreasonable with her, her plans, going to Ibiza, going to the town, floating?

8. Louna and her discussions with her father, his perceptions, getting something of the truth from her, her reluctance? His discussions with Laurent, getting him to take his daughter out to the meal, the discussions, getting a result, the suggestion about asking the DJ, going to the clubs, Antoine drinking, anger, pursuing the DJ, in the fight in the toilet – and the man being gay?

9. The episode with the group playing cards, the mention of Laurent’s girlfriends from the past?

10. Louna, continually flirting, openly, lying with him, going to the bedroom, her wanting to say that he loved her, his continued saying he did not? His gradually accepting to say this under pressure?

11. The return, the death of the dog, burial, the friend, and chasing the boar?

12. Laurent telling Antoine the truth, anger, missing the boar?

13. Later, the reticence, and Antoine not revealing that he knew?

14. This experience for each in their own way? Louna and her falling in love, being seductive, unrepentant? Adolescent experience? The effect of the experience? Marie, having to grow, attitude towards her father? The two men, continued friendship with the memory of this experience?

EDEN

France, 2014, or 131 minutes, Colour.
Felix de Givry, Pauline Etienne, Vincent Magaigne, Hugo Conzelman, Zita Hanrot, Roman Kolinka, Vincent Lacoste, Greta Gerwig, Brady Corbett.
Directed by Mia Hansen- Love.

Eden is a semi-autobiographical film by celebrated French director, Mia Hansen- Love whose films included The Father of My Children, Goodbye, First Love, L’ Avenir. The screenplay was co-written with her brother, Sven Hansen- Love, on the the central character, Paul, is modelled – and his love of music, his work as a DJ, his physical and moral collapse with drugs, his commitment to the world of music, his recovery.

The film traces the French music world, rock, punk, garage, from the 1990s to the 2010s. It is principally a film for those interested in this music world and its extension to New York City at the end of the 1990s. There is quite a range of music played, a range of bands and individual musicians.

The film shows enthusiasm, but also shows a downward spiral, disappointments, relationships and breaking relationships, the world of drugs, the suicides.

While the film has a strong French cast, the American connections are reinforced by the presence of Greta Gerwig and Brady Corbett.

For those who admire this music scene and the director, but friends of the director might find the detailed focus on this music world somewhat alien at times.

1. The contemporary music in France from the 1990s to 2010? The trends? The different styles of music? Performance, DJs, composers, bands and instruments, venues for playing? France, Paris, New York?

2. The director, films? The memories of her childhood? Collaborating in writing the screenplay with her brother as the model for the character, Paul?

3. The range of songs played throughout the film?

4. France in the 1990s, young adults, work, music, bands and nightclubs, drink and the prevalence of drugs? The effect at the time?

5. Paul, based on the director’s brother, his home, with his mother (and asking for money later, acknowledging his addiction, his mother’s response)? His work, writing? His interest in music? His work as a DJ, skills, the music, enjoyment, the musicians? His collaboration with his friends? The collaboration with Stan and the formation of Cheers? His collaboration with Guy- Man, Thomas? The progress throughout the 1990s? His relationship with Louise? The relationship and momentum, breaking up, the return to New York? Later meeting her, the meeting with Larry, the story of her abortion?

6. Invitation to go to New York, the invitation to Cyril, his staying in France, concentrating on his comic and design? The shock of his suicide?

7. The impact on Paul, his return to France, collapse, with his mother? The meeting with the young girl, the comments about the music she listened to? His being part of the past? His new job, salesmen? The night courses?

8. The range of people in the music industries? France and the US? Fashions, tastes, “garage” music, punk, and its varieties?

9. Paul, his character – and his being saved in real life, the director’s brother and his music, collaboration with the sister of the screenplay, able to take stock of his life?

LOST RIVER

US, 2014, 95 minutes, Colour.
Christina Hendricks, Iain De Caestecker, Saoirse Ronan, Matt Smith, Ben Mendelsohn, Eva Mendes, Barbara Steele, Landyn Stewart, Torry Wigfield.
Directed by Ryan Gosling.

Lost River is rather an exotic film – especially when one realises that it has been directed by actor, Ryan Gosling. It is a blend of the real and the surreal – with, perhaps, the surreal winning out, in its delineation of characters, in the situations, in its cinematic visual style, of light and darkness, shadows with sinister overtones.

The film is set in Detroit, in a dingy part of the town, a derelict house on the outskirts next to another derelict house, in the city streets, a club patronised by rather seedy men where the acts are all sadomasochistic.

The film has a very good cast with Christina Hendricks as a mother, with two sons, trying to hang on to the house they live in which was bequeathed to her but in need of a loan to keep going – with a visit to a banker, played in his sinister manner by Ben Mendelsohn, who gets the mother a job in the sleazy club, where she is coached in her acts by Eva Mendes.

In the meantime, the older son is put upon by the local bully who is not above cutting off the lips of his henchmen for not carrying out his orders properly. Next door is a young woman, played by Saoirse Ronan, who lives with her demented grandmother who watches her wedding video over and over, and lives with a pet rat. The grandmother is played by the celebrated veteran of many a horror film from the 1960s in Italy and in Britain, Barbara Steele.
The title refers to the inundation of a town to form a local reservoir and its being called Lost River, with a curse that only the head of a monster in the river will overcome the curse – which is fulfilled, ironically, at the end of the film.

Rather derided critically when it first came out, Lost River seems to be moving toward some cult status.

1. The mixed responses to the film? To Ryan Gosling as director? The negatives, later admiration and leading to a reputation as a cult film?

2. The description of neo-noir, the surreal fantasy? The blend of the real and the surreal in look, plot, characters, editing, score?

3. Ryan Gosling, his career, his first film as director?

4. The strong and varied cast? International?

5. The images of Detroit, dingy areas, inner city dingy, the derelict house, the exteriors, the street, the visual impact, light and darkness?

6. The focus on Billy, on Bones and Franky? Billy as mother, the heritage of the house, her wanting to keep it? Her relationship with her sons?

7. Bones, his age, close to Franky, stealing the copper piping, Bully and his wanting the copper, his threats, Bully seeing Bones take the copper, Bones running and leaving it, later recouping it? The threats from Face?

8. Billy, going to the bank, the issue of the loan, Dave and his attitude as banker, as man, refusing the loan? Billy wanting to keep the house, the need for the loan, the inheritance from her grandmother? The need for a job, Dave giving the card, not explaining the job, Billy going to the address, discovering it was a burlesque show?

9. The show, Cat, Dave and his presence, ownership, the clientele? The nature of the shows, sadomasochist, the MC, gory, the reaction of the audience? The make up, Cat and her help, support for Billy? Billy, the make-up, performance, the blood and the stabbings? The work in the basement, the shells, the women locked in, the men and their behaviour? Sexuality?

10. The threats to the house, marked as derelict? The effect on Billy, on the boys?

11. The character of Rat, her pet rat, Nick? Living with her grandmother? Her age, her grandmother watching the wedding video over and over? Her mind gone? Lament? Rat looking after her?

12. Brett and Bones, discovering the road leading to the lake, Rat telling the story of the town, submerged, the reservoir? The name of Lost River? The curse – and the mission to find the head of the beast to release the curse?

13. Rat and Bones, their friendship, going to the dance, Bully confronting them, Face – and Bully having cut off his lips? Subservience to Bully?

14. Bully, Rat intervening, getting the lift, going to the door, Bully and his killing Nick, the rat?

15. Billy taking Franky to work, Dave being upset, Dave and the violence, singing the song, the lift home, the confrontation by Bones?

16. Bones, discovering his mother’s work? His decision, to eliminate the curse, going to the fairground, the dinosaur, decapitating its head, finding his car on fire?

17. Face, going into Rat’s house, setting it alight, the grandmother catatonic, burnt? Rat going in to search?

18. Bully, trying to run down Bones, Bones tossing the dinosaur head, breaking the windscreen, Bully crashing into the water – and the destruction of a beast?

19. Billy, in the shell, getting out, confronting Dave, stabbing him, his bleeding?

20. The burnt house, the derelict house, Billy and her two sons and Rat, deciding to leave?

WHAT IF…?

Canada/Ireland, 2013, 98 minutes, Colour.
Daniel Radcliffe, Zoe Kazan, Megan Park, Adam Driver, Mackenzie Davis, Rafe Spall.
Directed by Michael Dowse.

What if…? is a romantic comedy from both Canada and Ireland, the main action set in Canada with a visit to Dublin in the middle of the film. It was originally called The F Word but this was not acceptable for release in the United States.

It is the story of Wallace, a British medical student in Canada, played by Daniel Radcliffe, lookinga little like Harry Potter grownup, who suffered a romantic breakup. At a party, he encounters a lively young woman, Chantry, Zoe Kazan, and they strike up a friendship, but he is little taken aback to find that she has been in a five-year relationship with Ben, a UN expert, played by Rafe Spall. Adam Driver plays Wallace’s roommate.

The characters are quite well drawn, both Canada and Dublin look rather good, there is some witty dialogue, there is a picture of a friendship which eventually the two friends realise is love.

1. A popular romantic comedy, for a 20-something audiences? Canadian setting, visit to Ireland? British characters in Canada?

2. The title? Possibilities? (The alternate title of The F Word?)

3. The Canadian settings, the city, apartments, animation offices, hospitals? The visit to Ireland? Dublin and locations? The musical score?

4. The introduction to Wallace, his breakup, sitting on the roof, sad, his sister and nephew and his links with them, his British background, medical studies, dropping out? His prospects? Sharing an apartment with Allan?

5. The party, with Allan, meeting Chantry, Allan’s cousin? Talking, at ease with each other, and easy friendship? Exchanging phone numbers? Wallace not following through? The chance meeting outside the cinema?

6. Chantry, revealing her relationship with Ben? Five years? Living together, love? Ben’s character, work for the United Nations? His prospects? His manner, at home with Chantry? The invitation for Wallace to come to the meal, edgy situation for him, Ben and his reaction, the touch of superiority, the accident, his falling out the window, in hospital? Recovery?

7. Meeting his former girlfriend at the hospital?

8. Chantry and her animation work – and the touches of animation throughout the film, humorous touches, light and characters?

9. Wallace, his sister, nephew, their talks, their support of him, his needs?

10. Chantry, her concerns, Ben going to Ireland, the contact, her being offered the animation job in Taiwan? The continued meetings with Wallace, talking things over, friendship? Chantry’s sister, sexy approach, Wallace resisting?

11. Allan, meeting Nicole, Nicole and her friendship with Chantry, hitting it off with Allan, marriage, pregnancy?

12. Chantry going to Dublin, surprising Ben, his work, friendships, the woman from the embassy, his taking on more jobs? Chantry and her disappointment, coming home?

13. Wallace, the decision to go to Canada, the encounter with Ben, his being punched out, learning that Chantry had returned home, his returning?

14. Chantry and Wallace, her reactions, a possible split, yet the love for each other, the reconciliation? The background of the Fool’s Gold loaf, and each making it for the other at the end?

15. The aftermath, Chantry going to Taiwan for her career, Wallace studying medicine, marriage – and a future?

KUNG FU PANDA 2

US, 2011, 91 minutes, Colour.
Voices of: Jack Black, Dustin Hoffman, Angelina Jolie, Gary Oldman, Jackie Chan, Seth Rogen, Lucy Liu, David Cross, James Hong, Michel Yeoh, Danny Mc Bride, Dennis Hayesbert, Jean- Claude van Damme, Victor Garber.
Directed by Jennifer Yuh Nelson.

Kung Fu Panda entertained millions of children and adults, a large panda, fond of eating and a touch lazy, was transformed into an action hero, despite himself. Voiced in his characteristic American voice, he made Po the panda, a comic creation, listening to his master (Dustin Hoffman) and surrounded by his fellow action characters (voiced by Angelina Jolie, Seth Rogen, Lucy Liu, David Cross and Jackie Chan).

Well, they are all back. Certainly, the novelty has gone but, despite the hustle and bustle, this sequel lacks the oomph of the original. No particular reason to see it, except to form a re-acquaintance with the familiar names and places.

The addition this time is a villainous peacock, Shen, who defies his parents, is exiled and makes plans to become the Emperor of China. He has a squad of goons and is involved in stealing metal to melt and mould into weapons.

For the most part, this is Po trying to find out about his parents after he realises that Mr Ping is not his real father and the battle between Po and Shen, lots of shenanigans, of course, entertaining but not so memorable.

Gary Oldman is the voice of Shen and there are cameo voices from Michelle Yeoh, Jean Claude Van Damme, Danny McBride?, Dennis Haysbert, Victor Garber. My favourite is Po’s father, the noodle-making Mr Ping, the goose who adopted Po, voiced by James Hong, who is worried about Po learning about his past and greatly relieved when Po returns home.

1. The popularity of the original Kung Fu Panda? The Chinese locations, the characters, especially Po and his family? The range of friends and associates? Martial arts? The training from Master Shifu? The battles?

2. The reprising of this in the sequel? The continued appeal?

3. The animation, bright and colourful, the background locations, an atmosphere of China? The delineation of the characters? Po, his friends and the variety, the Peacock and his entourage?

4. The strength of the voice cast?

5. The action sequences, choreography of the battles? The musical score?

6. The introduction of the Peacock, his family, his ambitions, appearance, domination, travels, overcoming difficulties, building up of his following, claims?

7. The Peacock as the villain, tyrant, wanting domination? To make the weapons, the collecting of metals, the henchmen arriving at the time, the confiscations? The making of the weapons? Terrorising the people in the village?

8. Po, the details of his friends, their, styles, manner of speaking?

9. His father telling him that he was adopted, the effect on, Po, his memories, wanting to find his actual father? The devotion of Mr Ping? His gifts and sending Po on his way to battle?

10. Po and his sense of mission, training, Master Shifu, the encouragement?

11. The fight, the choreography and action? Po and his techniques, overcoming the Peacock?

12. His return, celebration – and the possibility of further adventures for Po and his discovery of his family and village?

ALLEGIANT

US, 2016, 118 minutes, Colour.
Shailene Woodley, Theo James, Naomi Watts, Octavia Spencer, Jeff Daniels, Zoe Kravitz, Ansel Elgort, Miles Teller, Maggie Q, Bill Skarsgaard, Jonny Weston.
Directed by Robert Schwentke.

We are at chapter 3 of Veronica Roth’s Young Adult series. Her third book has been divided, as with the film versions of Twilight, Harry Potter, The Hunger Games into two films. We understood what Divergent could mean as well as Insurgent. And the fourth film is to be called Ascendant. But, what does Allegiant actually mean – who is or are allegiant and to what?

The series is set in a post-Apocalyptic world (and, for some of us, we might become a little mixed-up with those worlds of The Hunger Games, of The Giver, of The Maze Runner because of similarities). In the ruins of Chicago, five factions lived side-by-side, each with particular qualities – but, with the emergence of Tris, a Divergent, things became unsettled, especially for the governing personality, Janine (Kate Winslet) and those who did her bidding, trying to establish supremacy among the factions.

Tris (Shailene Woodley with a strong screen presence, great physical agility, and intelligence) encountered Four, Tobias (Theo James) which led to a revolt against Janine and her brutal attempts at putting down the uprising, insurgency The rebels conquered with the new leader, Evelyn (Naomi Watts, off-puttingly unrecognisable in a brunette wig, the mother of Tobias whom she had abandoned as a child and had joined the rebels.

This is where we stand at the beginning of Allegiant, with Evelyn presiding over trials and executions of Janine’s officials. Tris will not stand on the platform with her; Tobias tries to persuade his mother to rethink what she is doing; the leader of the opposition, Joanna (Octavia Spencer) stands but then leaves, drawing the discontented into a band for further stances, and they are the Allegiant.

But, surprisingly, this third film adds quite a deal more of plot. Four enables Tris’s brother, Caleb (Ansel Elgort) to escape and with Peter (Miles Teller), always fickle, a group goes to scale the wall which hems in Chicago and venture to find what is outside.

The wall-scaling is quite an exciting episode and the group find a no-man’s land of red radioactive waste but are suddenly rescued and welcomed by an alternate force from the Bureau, a complex and technological site where O’Hare? airport used to be. It has extraordinary technological developments and many comforts, and all kinds of surveillance techniques, even virtual presence, and know all about Chicago and the factions. It is all presided over by David (Jeff Daniels) who is interested especially in Tris and her being so unique, as a Divergent. He has been eager for her to come so that he can do contact genetic testing – with the alleged aim of improving all the humans whom he sees as “damaged”. Tris, Who is shown video of her mother and herself as a child, is persuaded by him but Tobias is not.

This leads to a number of dramatic crises, Tobias discovering where the Bureau gets its children from, raids on The Range. Tris is taken before the Council and learns David’s true motivations and his role as an overseer of the Bureau and its surveillance of Chicago.

The important thing is to get back to Chicago, to try to persuade Evelyn about what is happening – but, of course, Peter then does a deal and plays the role of the betrayer once again. The Allegiants will have to make a decision as to where they stand and Tris accuse a rousing speech, her image playing in the huge skyscraper walls.

Yes, quite some developments of plot – and, at this knife-edge, the final credits, and we anticipate the wait for Ascendant.


1. As a chapter in the series on its own? As the third in the series of four? Continuity, development?

2. The title, the tone? Allegiant and the rebel group, led by Joanna?

3. The sets, Chicago and its ruins, the area of the factions, the inner building, technology and control? The wall? The radioactive red territory? The Bureau? The architecture, technology, helicopters and planes? The Fringe? A post-apocalyptic world?

4. Audience knowledge of the previous films, the factions, the different styles, coexistence, the control over them? The role of Janine? Her clash with Tris? The confrontation with Evelyn? The rebels, Janine defeated?

5. The execution of Janine’s loyal officials? The crowd, the shouting, the bloodlust? Evelyn, having to make the decisions, her motivations? The appeals from Tobias, Tris not going on the platform? The use of the truth serum? The lieutenants, telling the truth about wanting to kill, despising people, yet not wanting to die, being shot? The others? Tris and Caleb, his betrayal? Imprisoned? Tobias and his authority, leading Caleb to freedom, in the vehicle, at the gate, Tori and the authorisation, Peter and his threats, Christine? All in the vehicle, driving towards the wall?

6. The visuals of the wall, height, escaping it, the electric wire, the falls, Tris and her running to the control, the explosion and disabling the electricity, being shot at, the explosion and Edgar being wounded? Tori and her being shot?

7. Getting down the wall, the ugly terrain, radioactive, walking, the confrontation, the plains, the barrier and its opening, their escape, the group being welcomed at The Bureau?

8. Tris as perfect, Divergent and unique, as a saviour, her being studied, the genetic hopes?

9. The Bureau, the community, in uniforms, the technical developments, the officials, but no children except for those taken in the raids on The Fringe? The look, the labs, the capacities for surveillance? Peter and Caleb and their job? Tobias and his love for Tris, not allowed to the tower? The surveillance and knowing all about what was happening in Chicago, the possibility for a virtual presence?

10. The cleansing, the bar on the wrist, the new clothes, the reassurances? The role of Matthew?

11. Tris, in white, invited to the tower, Matthew as escort, meeting David, his age, experience, the luxury of the tower, his being the overseer, his eagerness about the experiments, knowing all about Tris? Conducting the investigations and tests?

12. David and his manner, able to be trusted? His explanations? Tris as perfect, everybody else as “damaged”? The studies, wanting to reproduce the results and fix everyone, the humanitarian aims? genetic experiments? Tobias, going to the tower, Tris believing David? The flight to the Council? The interview, Tris learning David’s role, the control of the Council, David wanting the grants, the reaction of the Council?

13. Caleb, observing, his capacity for helping, his technical knowledge, keeping the connections?

14. Tobias, being taken to the Fringe, the kidnapping of the children, Tobias and his reaction? His wanting to go to Chicago after clashing with Tris? In the plane, Matthew accompanying him, the crash of the plane, Matthew going back with the story and Tobias not surviving? Tobias, wounded, his being taken to Evelyn, Tobias and his relationship with his mother, the past, challenging her? Evelyn going to her husband, the truth mask and his truth?

15. In Chicago, Evelyn, in command, succeeding Janine, the talk that she was becoming dictatorial like Janine? The soldiers, the factions? The group of the allegiant young people? Joanna and her leadership, the clash with Evelyn, walking out, preparing to fight?

16. Tris, in the plane, with Christina, guided by Caleb?

17. David, his plans, deadly intentions, his surveillance, virtual presence in Chicago and watching? His tempting Peter, the deal? Peter, his past and betrayals? His going to Evelyn, David’s proposal, the mask, the serum, producing it, its beginning to suffuse the building,
Chicago, affecting the crowds?

18. Tobias, the rescue, moving out of prison, fighting, reunited with Tris? Peter and his fears, locking himself in, being forced to unlock? Evelyn being shot?

19. Caleb, his advice, technical know-how, David cutting the connection?

20. Tris, knowing the source, going down, the basement, the corridors, David confronting her? Her using her wits, shooting through the wall, stopping the serum?

21. Peter, his escape, in the radioactive area, abandoned?

22. Evelyn and Joanna uniting, the leadership of the Allegiant group, preparing to make a stand?

23. The retrospective on the factions, Tris and the video of her mother and her origins, her being rescued? Identifying with her mother? Divergent, the others as damaged? The encounters with Tobias, the role of the villain?

24. Tris, her speech proclaimed on the walls, urging for unity rather than division? Survival and the sequel?

SILENT HILL: REVELATION 3D

US, 2012, 93 minutes, Colour.
Adelaide Clemens, Kit Harrington, Carrie- Anne Moss, Sean Bean, Radha Mitchell, Malcolm Mc Dowell, Martin Donovan, Deborah Kara Unger, Robert Campanella, Erin Pitt, Peter Outerbridge.
Directed by Michael J.Bassett.


The original Silent Hill, based on a game, is an eerie trip into a world of the demonic.

This sequel takes place some years later, the focus on the young Heather, Adelaide Clemens, travelling with her father, Sean Bean, who says that her mother has been killed but is, in fact, trapped in Silent Hill (Radha Mitchell).

Heather encounters a young student, Kit Harrington (Game of Thrones, Pompeii) who offers to help her but is, in fact, the son of the head of Silent Hill, Claudia, Carrie Anne Moss. A lawyer, Martin Donovan, is hired by Silent Hill but offers to help her – but is later killed, with police suspecting Heather. Heather has a great number of sinister adventures including going to visit the grandfather, played by Malcolm Mc Dowell.

The film has an eerie tone, dark sets for the demonic world – and is able to stand by itself without audiences having seen the original film.

1. The impact of the original filling? The relationship with the game? Plot, characters?

2. United States setting, ordinary, sinister, demonic? The musical score?

3. Sets and decor, evil settings? Action and special effects?

4. Heather and Harry, travelling, the disappearance of Rose? Her being kept in Silent Hill? Heather believing her mother had been killed? The cult, protection? The talisman and her having half?

5. Heather, the effect of the past, dreams and hallucinations?

6. Vincent, teenager, a school student, befriending Heather, keeping her company?

7. The arrival of Douglas Cartland, the confrontation, his being hired by the community, his change of heart and decision to help Heather? Heather’s reactions, her warning Harry, the abduction?

8. The Monster killing Douglas? Heather going back into the real world, suspected for Douglas’s murder?

9. Vincent, escort, his relationship to his mother, the head of the cult, Claudia? The young Alessa and death, consequences?

10. The Missionary, Vincent, the information about his grandfather, Dahlia and their warnings? Going to meet Leonard, the seal, taking the half of the talisman, Leonard becoming a monster?

11. Pyramid Head, shadowing Heather, Vincent taken, saved?

12. Alessa, the wrath of Claudia, the fusing of the older and younger?

13. Claudia, Heather and Vincent as hostages, giving the seal to Claudia, the escape?

14. Harry, escaping, being able to free Rose?

15. Vincent and Heather, on the road, the return of Travis (from the first film) the police, being saved?

BOBBY FISCHER AGAINST THE WORLD

US, 2011, 93 minutes, Colour.
Directed by Liz Garbus.

This is a very interesting documentary, made by celebrated producer and director, Liz Garbus, whose films included Love, Marilyn and What Happened, Miss Simone?

By the 1970s, chess champion Bobby Fischer had a worldwide reputation, and 1972 saw his competing with Russian, Boris Spassky, for the world championship.

However, Fischer was an eccentric personality. His mother was a card-carrying communist and there are many visuals of her protests and campaigns. The family was on the move, with him as a loner, and he became interested in chess at the age of six, committed to it by the age of seven, practising, with an ability to look at illustrations of games and understand how they were played, going on tour to play a range of players at a time, chaperoned by his sister. By age 15, 1958, he was appearing on television shows and being interviewed.

Liz Garbus has assembled quite an extraordinary amount of historical footage, including a number of interviews with Fischer himself, with friends and advisers, with chess experts, with the celebrities, and even with Henry Kissinger who ordered him to go to Iceland in 1972. There is also historical footage of the period, with Nixon in the US, Brezhnev in the USSR, and the 1972 worldwide watching of the competition on television.

Fischer was an eccentric personality, making all kinds of demands on the Icelandic authorities (footage of them appears – at the time and then later when they welcomed him to Iceland when the US had cancelled his American citizenship). He was erratic about coming to Iceland, persuaded by his friends, behaving eccentrically when there, especially in the games, but ultimately winning.

The film also shows life after winning, his unwillingness to play for the challenge to his world championship, his being caught up in the Church of God, becoming anti-Semitic in his utterances, persuaded by young Hungarian woman to compete against Boris Spassky in Yugoslavia in 1992 which led to the American government ban. He continued to badmouth the American government and finished up in Iceland where he alienated many people, dying in 2008.

The comments on his mental condition, his psychological problems are helpful – and the speculation about whether he would have been such a chess genius had he not been so eccentric and mentally unstable.

1. A quality documentary? Acclaim? The work of the director and her wide range?

2. Audience knowledge of Bobby Fischer, his origins, his career, his genius with chess, his competitiveness? His early years, his peak? And the aftermath and his being on the run? Disappearing?

3. The combination of historical footage, the range of interviews in talking heads, their links with Bobby Fischer, chess champions, collaborators, friends, his brother-in-law, experts, the personalities in Iceland in the 1970s and later, supervisor, grandmaster, chauffeur? The TV celebrities in the shows? The range of chapters? The indicating the footage and the interviews? The musical score?

4. The portrait of Bobby Fischer, American, born in 1943, Jewish background, his mother and her communist membership, seeing her in protests, in interviews, his separation from his mother? His sister, helping him when young, the tours, her brother-in-law? Continuing on the move, not having a childhood, aged six and chess, serious at seven, his training, spending the hours practising? The television interviews, at 15? The celebrities having him on their show and the questions? His study of chess magazines, ability to look at the games and work out in his head how they were played? His becoming a champion, on tour playing many people at the same time, the cash, his sister chaperoning him, the absent mother? Alone, and not really having a childhood?

5. The interviews at the time, on television when he was 15, later interviews when he was a champion? The interviews in 1972? Seeing his appearance, his age, growth, becoming a celebrity? The photographer and so many photos of him, especially in the 1970s – and their use in the film?

6. 1972, the Cold War, the images from the Soviet Union, the focusing on chess, becoming a national sport? The investment in Russians playing chess? Boris Spassky, world champion, the challenge? The images from Russia, Brezhnev, USA and Nixon? The authorities? The interventions by Henry Kissinger – and the interviews in his later life?

7. Spassky ready, going to Iceland, the room, his chair, waiting, pressing the button for the first game, forfeited?

8. Bobby Fischer, moody, alienating people, not wanting to go? The discussion of the terms, not wanting to be in Iceland, conscious of people following him? The discussions about the prize money? Further conditions? At his friends house, the friend’s father dying – and Fischer absentmindedly saying he didn’t mind? The pressure to go, his arrival, the airport, hurrying into the car, the crowds? Alone in the countryside? Not showing up? The variety of games, the forfeit, the draws? His reactions, suspicion about rays, the noise of the cameras, the whole room examined? The audience watching on screens outside?

9. The experts, the comments on Fischer as a champion, his games, the beauty of his games?

10. His physical trainer, the energy in training, his ambitions, his skills?

11. The audience on television, on American news, politics – and population? The patriotic support? His victory?

12. The scenes in Iceland, the authorities, the financial situation, the pressures? Their being interviewed 30 years later, especially with
Fischer settling in Iceland?

13. The aftermath, a certain emptiness after achievement, the possibility of defending his title against Kasparov, his fears, no show?

14. The religious background, the Church of God, its influence, the comments from his physical trainer and his being a member of the church, the television scenes with the founder of the Church, Fischer and his life, withdrawn, the anti-Semitic tone of the church, expectations of the second coming, the failure of the prophecy, Fischer and his leaving the church?

15. Zita, from Hungary, contacting Fischer, urging him to play, the 1990s, the challenge with Spassky, both past their peak, the game in Yugoslavia, the war, the American, his spitting at the document, his further talk about the CIA and plots, his becoming anti-American? His winning again Spassky?

16. His continuing to move, not having a homeland, the invitation to Iceland, the welcome, contacting his old chauffeur, the chauffeur making a documentary and clips from that film?

17. In Iceland, the welcome, television interviews, the interviewer who said that the interview proved that his father’s comments about his not being sane? Alienating people? Psychological difficulties? The walks and talks with the psychologist? The interviews with the psychologist?

18. Fischer, mental illness, the diagnoses? The fact that he was a genius – the touch of madness which enabled him to achieve as a
genius?

19. The film as a significant piece of 20th-century Americana?

HOMEGROWN

US, 1998, 10 minutes, Colour.
Billy Bob Thornton, Hank Azaria, Ryan Philippe, John Lithgow, Kelly Lynch, Jon Bon Jovi, Judge Reinhold, Jon Tenney, Jamie Lee Curtis, Ted Danson.
Directed by Stephen Gylenhaal.

Homegrown is a comedy with serious touches, a 1990s film (although written earlier) about marijuana crops grown illegally in Northern California, the cultivation, processing, deals with private customers, the influence of big business and the Mafia.

Billy Bob Thornton, Hank Azaria and Ryan Philippe play three of the growers, not the smartest of growers, who work well with one another but not without some bickering. Kelly Lynch is their contact in the town, a strong-minded woman who understands the market – and who has a sexual relationship with each of the men.

When their boss, John Lithgow, is killed by his helicopter pilot, they began to panic, then decide to go into business on the run, which gives them some dangerous experiences, collecting the marijuana, going to visit potential customers, including Jon Bon Jovi, contact with the people in the town, including Jamie Lee Curtis, paying off a corrupt cop, Judge Reinhold, and eventually Billy Bob Thornton impersonating the dead businessman and business contacts for further markets and being grilled by the Mafia chief played by Ted Danson.

So, quite a considerable cast, and jokey screenplay about marijuana and its legality or not, and a number of points being made about cultivation.

Directions by Stephen Gyllenhaal and there are small parts for his children, Maggie and Jake.

1. A serious comedy? Americana, and trends, the law, business connections, sales and deals, the Mafia?

2. North Carolina, mountains and forests, the towns, marijuana crops, the huts, the clubs, customers, offices? The musical score and songs connected with marijuana?

3. The title, the crops, the sales, processing, the law, money, corrupt police?

4. Malcolm, his business, his control of the crops, introduction, his business deals, his private shooting him, the three men seeing it and fearful? His later appearance – but his twin brother, the threats, the relationship with their mother? Jack and his impersonations of Malcolm?

5. The three men, death, the panic, moderate intelligence, planning, fears, taking charge of the crops, taking the drugs, looking for customers? The walker in the woods, get him to help, the gun, his being undercover? Their reactions, fears, fleeing, getting tangled in the woods?

6. Lucy, strong personality, control and the decision-making, wary, the discussions and plans , the sexual relationship with each of them? Discovering the truth, collaboration?

7. Sienna, at the dance, the relationship with the three, the knowledge about the town, the drugs?

8. Danny, Jon Bon Jovi, customer, the meetings, discussion or the girls and the sales?

9. Other businessmen, checking their contacts, Jack and his impersonations? His skills?

10. The Mafia contacts, the Mafia chief, the meetings, the angers, his impersonation – and the result?

11. The corrupt policeman in the town, buying him off?

12. The three, coming good, the money, the drugs? The confrontation by the twin brother?

13. Tongue-in-cheek look at drugs, the perspective of the late 1990s, the touch of sardonic humour, the ending?