THE ITALIAN/ ITALIANETS

Russia, 2005, 90 minutes, Colour.
Kilya Spiridov.
Directed by Andrei Kravchuk.

An emotional film about children from Russia. It has found audiences outside Russia and won a number of awards at children’s festivals. It was the SIGNIS winner at the 2007 Hong Kong Festival.

The Italian seems something of a misleading name for a Russian film. The reason for the title is that at the orphanage where young Vanya lives there is a scheme to raise money through adoptions to foreign couples. The children dream, of course, about being adopted. When an Italian couple arrives and chooses Vanya, there is a time delay for the process. And, in that meantime, Vanya sees another child find his real mother. Vanya wonders whether he could find his mother.

The main part of the film is Vanya’s attempts to find his mother. His trying to read so that he can look at his own documents – and the difficulty of getting access to those. There is his flight from the orphanage and his using his wits to survive on the streets until he arrives at the address he has found. And, for some time, he eludes the orphanage authorities who want him back for the deal with the Italians.

Kolya Spiridov is one of those screen charmers who draw such an emotional response from the audience that his being on screen commands attention.

Italy is a land of sunshine – and a place for dreams. Russia, the Russia of this film, is cold, dark and run-down. The film’s sometimes austere style is in the manner of the great Russian cinema masters which gives it a mature quality even as the plot focuses on the little boy and other children.

HABLE CON ELLA/TALK TO HER

Spain, 2002, 107 minutes, colour.
Javier Camara, Dario Grandinetti, Leonor Watling, Rosario Flores, Mariola Fuentes, Geraldine Chaplin, Pina Bausch.
Directed by Pedro Almodovar.

For those who have followed the career of Spanish director, Pedro Almodovar, from his small budget eccentric takes on post Franco Spain to his more serious critiques (Matador) and his popular entertainments (Women on the Verge of a Nervous Breakdown), Almodovar's work from the mid-90s showed a distinctive flair in his storytelling, colourful and melodramatic, but with a greater sympathy for characters and an intelligent and emotional attitude towards deeper human issues. This was confirmed when he won the 1999 Oscar for Best Foreign Language Film, Best Director at Cannes as well as the Ecumenical Award for All About My Mother. Hable Con Ella continues this multi-layered film-making. It is a film which repays second viewing. Almodovar won the Academy Award for Best Screenplay, 2002.

While the film opens with a performance by the Pina Bausch company, depicting blinded women crashing into walls but being saved from further accident by a man trying to remove chairs in their way, two men in the audience are deeply moved, one to tears. In a way, we are given the themes of the film at once. The two women at the centre of the film spend most of the time in coma. One is a dancer who has had a street accident. The other is a matador who has been severely gored. The two men in the audience are Benigno and Marco. Benigno has cared for his mother and has now cared for the comatose ballet dancer for five years. Marco is a reporter who has interviewed and then become involved with the matador. While he weeps, he cannot talk to the matador. Benigno gives complete care to the dancer, telling her everything that is going on, bathing her, attentive to her every need. While the men look to the women, they become close friends, especially as the film moves towards an unexpected climax.

Almodovar shows great empathy for the men, for their friendship and the demands that it ultimately makes. The two women emerge as strong characters, especially in flashbacks showing them in their professional work. The four principals are completely believable as is Geraldine Chaplin who appears as the dancing mistress.

The film is also beautifully written even when it tackles some deeply disturbing themes, especially in the relationship between Benigno and the dancer. Almodovar uses a device of Benigno telling the story (with vivid visuals) of a relationship in a silent film he has seen rather than anything directly on screen. While the silent film is symbolically explicit, Almodovar leaves it to our imaginations and emotions as to what actually happens.

The Pina Bausch company appear at the end of the film suggesting more life and hope although Marco says to the dancing mistress that what happened can be told simply. She has the last word saying that her experience tells her that nothing is simple. Multi-layered is the best word to describe Talk With Her.


1. Acclaim for the film? The awards? Academy Award? Its place in the films of Pedro Almodovar?

2. The settings, the Spanish cities, the countryside, hospitals and care, ballet performance and schools, bullfighting, the arena, the crowds?

3. The musical score, the range of music, as background, for the ballet, for listening?

4. The significance of the ballet sequences, the work of Pina Bausch, the cafe sequence and the blind women at the beginning? The modernist dance at the end? Rehearsals at the ballet school?

5. The bullfighting, both men and women in the arena? Lavish costumes, the scene of dressing? Skills, the crowds, anticipation, Lydia, her confidence, her prayer, medals, the performance, Lydia gored, the response of the crowd, her friends, of Marco?

6. Benigno and Marco at the ballet, sitting next to each other, Benigno noticing Marco’s tears? The later meeting and interactions of their lives?

7. Benigno’s story, in himself, his age, living with his mother, care for her, his qualifications and training, her death? Alone, his apartment, the fixation on Alicia? Watching from his window, the school, her practice? Her walking the street and losing her wallet, his chasing her, returning it, her gratitude? Her father the psychiatrist, and Benigno the session, discussions about his orientation, the later interview, the father allowing him to care for his daughter? The accident, her being in coma, four years, Benigno living just for her, daily care, massage, her normal functions, the issue of her period, his talking to her, discussions, following her interests, the music, the silent films and his discussion about the sexual story (and scenes being visualised) – a preparation for what was to follow? His work with Rosa, Matilde, the doctors? His taking the extra nights, writing the reports? The effect on him, Alicia more real in coma than alive?

8. The character of Lydia, strong, clashes with her father, her family, her career, with the celebrated matador, the relationship, the journalists, reactions, her being interviewed on television, the tenacious interviewer, the walking off the set, the interviewer reaching out for her? Marco watching, the commission to write the article? Going to meet her, her resistance, getting the lift, helping with the destruction of the snake, the bond between them, talking, the months? His devotion? His experience of the accident, helping, visits to Lydia at the hospital, not being able to touch her, her former friend coming in, allowing him to sit? Her death?

9. Marco, his job, the travel books, his past life and self-sacrifice, the 10 years, the wedding, Lydia present, his getting over the relationship? His memories with Lydia, the travel, driving, talking? The friend, the truth, that she was back with him? His being at the hospital, the friendship with Benigno, with Alicia? His concern about Benigno?

10. Alicia, the issue of not having her period, the response of Rosa, the other members of the staff? The interviews with Benigno, her pregnancy, his writing the reports? His going to prison?

11. Marco, his travels, discovering what had happened to Benigno, trying to see him in prison, the phone number, phoning him, their discussions, his realising what Benigno had done, his mental and emotional state, his wanting to help?

12. Marco going to the hospital, the news about Alicia, her waking, the fetus stillborn? His seeing Alicia at the rehearsals, going to the theatre, the ballet, her talking to him, the ballet teacher suspicions? His turning in his seat, the possibility of a bond with Alicia? The discussion with the ballet teacher?

13. Benigno, in prison, finding it oppressive, his bequeathing his apartment to Marco? Marco and the visit to the landlady, her comment about Benigno being in prison, the tidiness of the apartment?

14. The phone call about Benigno, his taking the pills, his writing the letter? Marco rushing to the prison, the officials giving him the letter, his grief? The visit to Benigno’s grave?

15. A complex and humane drama – with unexpected connections and twists?

THE KID FROM KOKOMO

US, 1939, 93 minutes, Black and white.
Pat O' Brien, Wayne Morris, Joan Blondell, May Robson, Jane Wyman, Stanley Fields, Maxie Rosenbloom, Sidney Toler, Edward Brophy, Ward Bond.
Directed by Lewis Seiler.

This is an amusing story from 1939, one of the great years for Hollywood.

Pat O’Brien? is in good fast-talking form as Murphy, a boxing manager, looking for the world champion, not afraid of shady deals and frauds. Joan Blondell is his long-suffering girlfriend, former bubble dancer, rather shrewd in her dealing with Murphy’s clients, wanting to get married.

Murphy discovers Homer, farm boy from the countryside who does not want to box despite his strong right hand, who doesn’t want to travel, but only wants to find his mother who left him in the town 22 years earlier. He is played with some simple and genial charm by Wayne Morris. Jane Wyman turns up as a journalist student and the romantic lead.

While there are boxing moments, thugs trying to manipulate, bribes to take a fall…, the film is actually stolen by May Robson as a roguish old woman, shoplifter, inveterate liar, alcoholic, who has spent a long time in prison – but, on a chance, is hired by Murphy to pretend to be his protégés mother. This leads to a lot of comedy and the contrast between her trying to be like Whistler’s Mother and her own raucous behaviour – which comes to a head when she and her partner pretend to be the protégés parents and go to meet Jane Wyman’s parents – and the father turns out to be the judge from the courts.

From the past, but still entertaining in its way.

1. An entertaining 1939 small feature? From Warner Brothers? Knockabout comedy and drama?

2. Black-and-white photography, New York settings, the boxing world, management, police stations and courts, the world of the con men and women, and the countryside and farms? Musical score?

3. The strong Warner Brothers cast? Playing in type or against type? Pat O’ Brien and his tough quick talker, shady manager? The contrast with Wayne Morris as the genial and upright innocent? Joan Blondell and her dancing background, love for Pat O’ Brien, sensible? May Robson and her interpretation of the tough old broad? Jane Wyman as a romantic lead? Edward Brophy and the continued knockabout comedy?

4. The plausibility of the plot – or the comic exaggerations?

5. Murphy, the bout with Bender, his giving up, selling 200% of shares? His being pursued by the other shareholders? Doris, her continued devotion, wanting to get married? Sensible in her negotiations? Going to the country, the wrong candidate for the champion, finding Homer, his being basically nice, not wanting to fight, looking for his mother, her disappearance 22 years earlier? Murphy using this to get him to box? Doris and her shrewd appeal to his
emotions?

6. The boxing world, Homer and his initial success, the press conference, saying that he wanted to find his mother? Louis and the thugs? Bender and his wanting revenge after landing out of the ring in the laps of the reporters? His continued taunting Homer?

7. Murphy at the court, Maggie , shoplifting, tough, anwering the judge, stealing his pens? Murphy taking her, dressing her as Whistler’s Mother, introducing her to Homer, his happiness? The scenes together, her performance – and the lapses, Homer excusing them, in the bedroom, the alcohol under the covers? Murphy tracking down Malone, persuading him to pretend to be Homer’s father? The couple? Getting on well with Maggie? Homer’s belief?

8. Homer, his training, strong right hand, the buildup to the challenge? Maggie and her running up debts, the lavish lifestyle, the lavish apartment, her clothes, the horses? Malone and his being dressed up? Louis, wanting to get his money back? Persuading Homer to dive, Homer doing this to save his mother going to prison?

9. Marion, journalist student, coming to the gym, discussions, the interview with Homer, the skipping? The attraction, their going out? The plan for the various parents to meet? At the house, the irony that Marion’s father was the judge? The immediate reaction and Maggie and co running away? Deciding to face it? The humorous ambiguity of the dialogue and interactions, especially from the judge? The irony that Malone recognised him from Hell’s Kitchen and his past?

10. The buildup to the fight, Murphy and his bet, Doris and her support? Maggie coming to tell Homer the truth, his not believe in her? The fight itself, Homer willing to take a dive, going down, getting up? The inevitable taunting from Bender, Homer’s reaction, the knockout?

11. Murphy and Homer being abducted, the threats? Maggie and Malone planning to take all the money? Maggie thinking that Homer was a wonderful son?

12. Malone, his connections in Hell’s Kitchen, rounding them up, bringing them to the hotel, the attack, the brawl, and Eddie being knocked out? Murphy and his black eye?

13. The wedding ceremony, the judge, Homer and Marion happy, the requirement for Maggie and Malone to be married? Maggie stealing the pen? Doris, the documents and with the ring – and Murphy trying to escape?

14. The happy solution, with Homer suggesting that he adopt Maggie and Malone as his parents?

RACE FOR YOUR LIFE, CHARLIE BROWN

US, 1977, 76 minutes, Colour.
Voices of: Duncan Watson, Greg Felton, Stuart Brotman, Gail Davis, Liam Martin, Melanie Kohn, Bill Melendez.
Directed by Bill Melendez and Phil Roman.

Race for Your Life, Charlie Brown was a popular Peanuts film from 1977. There had been A Boy Called Charlie Brown in 1969 as well is Snoopy, Come Home in 1972, as well is television specials and Bon Voyage, Charlie Brown (1981).

This is a cheerful film as well as an outdoor adventure. It is about raft-racing on the rapids and author, Charles Schultz, went to Oregon to test out his skills in riding the rapids for background to his screenplay. Schlutz began drawing the comic strip in 1956 and it became popular all over the world.

The Peanuts gang are all here, their usual selves, Charlie Brown self-deprecating and getting into trouble, Linus with his blanket giving good advice, Snoopy in Woodstock more than just mascots for the group, Lucy and her usual criticisms.

This time there is a group of bullies with a vicious cat who confront the Peanuts teams, one for the boys, one of the girls, and cheat and put all kinds of obstacles in the way of the group. But, it is Woodstock who wins out in the end.

The film is co-directed by Bill Melendez who continued to work on Peanuts films and television specials, lending his voice for both Snoopy and Woodstock.

1. Another popular Peanuts film? In the 1970s? Subsequently?

2. The Peanut comic strips, popularity, worldwide readership, the characters, the positive message about embracing life and self-confidence?

3. The animation bringing to life the comic strips, bright colour, the characters, the situations? The title song at beginning and end?

4. The familiar characters, the addition of the bullies, and their cat?

5. Charlie Brown, with the group, self-image, relating, hard experience, arriving late on the cycle with Snoopy and Woodstock? Lost, overcoming difficulties?

6. Snoopy, with Woodstock, the motorcycle, in the adventures, their contributions, and Woodstock’s victory?

7. Lucy, her usual criticisms?

8. Schroeder, musical, the piano, his solo?

9. Linus, the blanket, good advice, participation – and the attack on the bullies and the cat with his blanket?

10. Sally, Peppermint Patty, Marcie, the girls’ team, participating in the race?

11. The bullies, their appearance, voices, the mean cat, the raft, the rapids, the race, cheating?

12. The Peanuts gang overcoming everything, not winning but not losing, the honours to Woodstock?

THE PEANUTS MOVIE

US, 2015, 88 minutes, Colour.
Noah Schnapp, Noah Johnston, Bill Melendez, Alexander Garfin, Mariel Sheets, Hadley Belle Miller.
Directed by Steve Martino.

The full title of this film is Charlie Brown and Snoopy, The Peanuts Movie. It was released at the time of the 65th anniversary of the first publication of Charles Schutz’s celebrated comic strip.

The Peanuts comic strip has had quite an impact over the decades, the strips being published all over the world, and, in 1969 and the 1970s, animated film released, A Boy Named Charley Brown (1969), Snoopy Come Home (1972), Race for Your Life, Charlie Brown (1977), Bon Voyage, Charlie Brown (and don't come back) (1981). Charles Schultz’s son and grandson are responsible for this new film.

Writer and speaker, Robert L. Short wrote in the 1970s about the impact of these comic strips and their message in a book, The Gospel according to Peanuts.

For those who know the comic strips, they will welcome all the characters, plus a new one or two, who look very familiar, speak in a familiar way, go through situations which the audience expects of them.

Poor Charlie Brown has to live through so many episodes where he sees himself as a failure, involved in the number of accidents, trying to fly a kite yet tangled in the leads, doing his best at school and then finding out that it is not enough, going up and down in popularity with the other children. Lucy is there are continually criticising him. On the other hand, Schroeder (who is seen playing the piano and the melody of the 20th Century Fox logo at the opening) is a friend and offers sound advice. Linus, with his blanket, is encouraging and also offering Charlie Brown good advice.

Of course, there is Snoopy, always around, lying on the top of his kennel, finding a typewriter, typing his book with the visualisation of his exploits in World War I against the red Baron and rescuing the canine femme fatale, Fifi. He is also an encouragement for Charlie Brown.

The film opens in winter and the children at school, goes through the school year and finishes on the last day of school.

Most significant is the new girl at the school, the redheaded girl, who seems not to know that Charlie Brown exists but with whom he is entranced. They work together but, once again, it collapses in some failure. However, there is happy ending, Charlie Brown wanting to declare himself, especially when the red-headed girl chooses him as a penpal for when she goes away to camp. He hurries to the bus, trips, hits a tree, a kite falls out, he hangs on and is lifted right to the bus to hear the girl’s wise words to him, about being himself.

Audiences will identify with Charlie Brown’s self-deprecation but would feel the lift to become more confident and embrace life.

1. The popularity of the strip, for 65 years, in the United States, worldwide?

2. The impact in the past, the effect of Charles Schultz, continued by his son and grandson? The animation, the style of the comic strips? Characters, backgrounds, action, colour, expressions? Audiences accepting the characters? The touch with Schroeder playing the 20th Century Fox logo?

3. Americana, the town, homes, life in families, life at school, Voices? Snoopy and his kennel, lying on top and typing? With Woodstock? The school days? The winter season? The last day, the sun? Variety of activities, flying kites, groups, musical score?

4. Charlie Brown, his appearance, clothes, his wardrobe and the sameness, going out, his relationship with Sally at home, at school, Lucy and criticisms? His self- image, self-deprecation, trying to fly a kite, the tangles, the succession of accidents? The redheaded girl coming to school, attracted, his thinking that she did not know him? The essay, good marks, the mistake and his losing popularity? Snoopy ringing the bell for the red-headed girl, finally getting courage? At school, finding partners for penpals, the little girl volunteering, the effect on Charlie Brown, the kite falling, tangle and his being lifted to the bus,the discussions at the bus, all present them, the expectations?

5. Snoopy, his character, emergency thoughts, communication with Charlie Brown, with others, his interventions, sense of humour? Sleep on his kennel? The typewriter and writing his bood, The Red Baron, the flights, the plane, the rescue of the dog, Fifi, and the plane continuing to fly around, even during the credits?

6. Lucy and her cutting remarks, reading Snoopy’s story and saying it was the worst?

7. Linus, a good friend, his advice as an encouragement? His blanket and his need?

8. Schroeder, musical, nice, piano, playing?

9. Sally, Charlie’s sister, her performance and failure and Charley helping out?

10. Peppermint Patty and the others, the tough kids school?

11. Charlie Brown helping kite boy – and so well?

12. No adults, only children?

13. The positive message, be oneself, embracing life?

BUSINESS AS USUAL

UK, 1988, 88 minutes, Colour.
Glenda Jackson, John Thaw, Cathy Tyson, Mark Mc Gann, Eamonn Boland, Steve Mc Gann, Stephen Dillane.
Directed by Lezli An Barrett.

This is a small-budget film written and directed by Leslie Ann Barrett, her only film.
The film has social concern, the kind of story told by such social-mind directors as Ken Loach. It was released in 1988 and reflects Britain in the 1980s, especially with Margaret Thatcher as Prime Minister, her stances against the unions, the various strikes and protests.

The setting is Liverpool, a shop changing hands in ownership, issues of sexual harassment with the floor manager, harassed women afraid to speak out because they might lose their jobs. But, one of the workers does speak out, is sacked, and begins a journey of growing awareness about work situations, the unions, strikes and protests, possibilities for change.

She is played by Glenda Jackson, beginning as a rather timid person on the floor of the shop, standing up for the harassed woman, played by Cicely Tyson, and gradually coming into her own. This is especially interesting in hindsight with Glenda Jackson entering Parliament in the early 1990s and being there for many years.

John Thaw plays her husband who had been injured in the workplace but does not stand up for rights. Two of their sons, the McGann? brothers, are union activists.

The film has the earthiness of workers’ lives in Liverpool as well as the energy of those who participate in protests.

1. Social drama? Message drama? Topical, Britain in the 1980s?

2. Small budget films, the city of Liverpool, details of the city? London, shops and offices?

3. The mood of the 1980s, Liverpool, the shop, the takeover, changes? The song – What’s Love…?

4. The title, the ironies, past practice, the present, strikes and protest, change?

5. Thatcher’s Britain, the links with Europe? The unions, action, administration, closures, unemployment, different businesses, glamour business, ordinary? Harassment of staff? Deals, protests? The police and the administration of the law?

6. Sexual harassment and issues? The film’s female point of view, writer and director, the cast? Glenda Jackson and her political career after this? The opening, the photos, the shop? The unions, the bosses? Babs and her being a symbol of the workers? The police, Paula? Joan and the media? Babs and her speech? The issue, Josie, the harassment, her place in the shop, not wanting to speak out, not wanting to lose her job? Dramatised, straightforward, simplistic, credible? Josie’s role? Dunlop, the firm, the changes? The secretary, the models, Barry and his work, praise? The difficulties, negotiations? Tough, the lawyer? Barry in the spa? The toilet discussion? Capitulation and the reasons? Barry and his harassment of Josie?

7. The Flynns, the family, the older generation, Kieran, his work, disabled, at home? Babs? The boys? The redundancies, television interviews, the relationship with Joan, Bab’s support or not? The fights, pride, the sons and their support?

8. Glenda Jackson as Babs, in herself, family, the children, the shop and the girls, Barry and the making of the coffee, Josie, the reprimand, the sack, at home, her relationship with Kieran, Stephen and his help, Paula? The arrest, the union? Lewis, Mark Gittings, the protest, the sign and involvement? Babs and her transformation from a quiet person to an activist?

9. The contrast between husband and wife, his passivity, her growing action? The strike, her involvement, activities, a voice?

10. Her sons, their union background, activism, support of their mother?

11. A semi-documentary touch? The relevance of the film in the 1980s? In subsequent decades? The change in Britain?

CHAINED

US, 1934, 76 minutes, Black and white.
Joan Crawford, Clark Gable, Otto Kruger, Stuart Erwin, Una O' Connor, Marjorie Gateson, Akim Tamiroff.
Directed by Clarence Brown.

Chained is something of a melodramatic title for this romantic drama.

However, it is a very good star vehicle for Joan Crawford who had been in films at MGM since the late 1920s, gradually taking on star roles. However, she is given the Clarence Brown treatment, which he had given to such stars as critic Garbo and Katharine Hepburn, highlighting their glamour. In this sense, Chained is a key Joan Crawford film, attractive, glamorous, and wearing an extraordinary range of costumes by Adrian.

This is a pre-code film with the touch of the permissive but the ultimate self-sacrifice. Joan Crawford plays Diane, mistress of a wealthy businessmen, played with charm by Otto Kruger. He wants to divorce his wife, Marjorie Gateson, but she is unwilling. He sends Diane on a cruise to South America, giving her time to think about their future relationship.

On the ship, she encounters an American who has a ranch in Argentina. He is played by Clark Gable who had already appeared with Joan Crawford in Possessed. The shipboard romance is played with elegance, very effectively by each of the stars. She is falling in love, goes to his ranch, but feels that she must go back to New York to explain the new situation. On her return, the businessman does not give her a chance to speak, reveals that his wife has given him a divorce and that Diane is the meaning of his life. She feels she must stay for him. She writes a harsh letter breaking the relationship with Gable.

A year later, he is in New York and they meet by chance. She is willing to continue the sacrifice and stay with her husband – with Gable visiting in order to confront him and tell him the truth but realising how much the husband loved his wife. And, in a further self-sacrifice, the husband realises what has happened and frees Diane to go back to Argentina.

Audiences will be caught up with the stars, their story, their love, the sacrifices. And, for audiences who have been through the Depression, the cinema world that is offered is one of immense affluence, luxury, and the most comfortable of lives.

Otto Kruger is very good, always charming, as the husband and there is a cameo by Una O’ Connor, looking less like a pecking bird than usual, and Akim Tamiroff as the chef on the ranch in Argentina.

1. An MGM drama of the 1930s? Pre-code with stories about marriages, mistresses, divorce?


2. Production values, the stars, costumes and decor, fashion, sea voyages, life on boats, Buenos Aires, the Argentinian ranch? Musical score?

3. The situation, Richard, building up his shipping business, alienation from his wife, her cruises, refusal of a divorce? Diane present in the discussions? Her relationship with Richard, in the office, personal?

4. Richard sending Diane on the voyage, the luxury, the meeting with Johnny and his lines, his setting up Mike, her overhearing the talk? Reactions, cheerful, wanting to be by herself, attracted by Mike? Their activities on the boat? Her saying she would not see him again, going shopping in Buenos Aires?

5. The hotel, the luxury, Mike tracking her down, taking her riding, the ranch, the foal, Johnny and the friendship, Pablo and his cooking? In love with Mike? The friendship with Johnny and his support of Mike? Hoping for a future?

6. Her decision to go back to New York and tell Richard? His overwhelming her, her being unable to tell him the truth? The wedding, the newspaper headlines, society life? Her harsh letter to Mike?

7. The year passing, meeting Mike, the bond, the meal, the lavish service, her going back to her husband?

8. Mike, visiting the house, talking with Richard, prices for the shipping of cattle? Richard and his devotion to Diane, Mike changing his mind and leaving?

9. Richard, knowing the truth, saying the Diane had made him happy for the year, allowing her to go? Back in Argentina?

ROOM

Canada/Ireland, 2015, 118 minutes, Colour.
Brie Larson, Jacob Tremblay, Joan Allen, Tom Mc Camus, Sean Bridgers, Wendy Crewson, William H.Macy.
Directed by Lenny Abrahamson.

Room is quite an ambiguous title. Audiences may be expecting The Room or A Room. But, with the simplicity of Room, it may indicate some spaciousness, room to move, or it may indicate lack of room, confinement. In the first part of the film, we discover just how confining Room actually is. It is one room. There are no windows to look out of, only a skylight.

We have read, over the last several years, stories of women being abducted by predatory men, virtually imprisoned in their house, disappearing from their relatives and families, confined as playthings or sex slaves for the men. Some of the women have escaped and have told their sad stories. This is one of them.

Brie Larson plays Joy, a comparatively young woman who lives in this single room with her young son, Jack, turning 5. While they have television, Jack has no real idea of the outside world, it is a fantasy, one with the images from television and apprehended by a little boy. He knows nothing outside the room and himself is quite joyful and, as a goes to bed, he says good night to every aspect of his room, his home. Sometimes Old Nick, as they call him, turns up with some food, some presents like toys, and spends the night with Joy and then goes off again.

This is a difficult film to review without indicating some of the plot developments. Most audiences will know that, eventually, mother and son do come out of the room, quite a dramatic experience for both, a relief for the mother, quite some bewilderment of the boy.

Joy’s parents have not known where she has been. Her mother, Joan Allen, tries her best to help her daughter and her grandson. Her husband, Joy’s father, has left home and lives a long way away, presumably unable to face what has happened. He is played by William H. Macy, appearing only in a few scenes but a very telling and disturbing performance. At home, Joy’s mother’s new partner tries his best with the boy, making some breakthroughs.

Clearly, not everything will go as everyone wants, including the audience hopes for Joy and Jack, which makes the latter part of the film quite tense, Joy having to deal with the trauma and coming back to real life, Jack catching up on life with other people.

Brie Larson is excellent in the role. And the performance by the young actor, Jacob Tremblay, is quite astounding, so convincing he is. This is an Irish-Canadian? coproduction which, inexplicably, is set in the United States. It is the work of the Irish director, Lenny Abrahamson, who has made some very striking films: some with comic touches, Adam and Paul, Garage, and some with more serious touches, What Richard Did, Frank. He has built up already a serious body of cinema work.

1. The impact of the film? Awards?

2. Irish/Canadian production? The financing? Locating the story in the US? The work of the director and his small films and their effectiveness?

3. The title, literal, the references by Jack, the impact of the room for the audience and the characters?

4. The first part of the film, confined, the use of close-ups for the characters, the claustrophobia for the audience, the need for patience in looking at this part of the story, sharing the experience of Joy and Jack on their confinement, the revelation about Old Nick? Joy and Jack staying in the room so long? The need to get out?

5. The room, the size, the skylight as the only light, the sky, the bath and the toilet, the kitchen, the wardrobe and Jack sleeping in there, looking through the slats? Joy as Jack’s Ma? Her age, the abduction, the pregnancy, the birth, seven years in the room, four years looking after Jack? Old Nick, the sexual relationship? Her care in love, guiding Jack, having to be severe, remembering her past life, Nick bringing the food, the toy for Jack, the nights in the room? The film not making any condemnation of Nick’s behaviour explicit until after they were out of room? The only news of his arrest coming through watching the television reports?

6. Jack, his appearance, the transition from 4 to 5, hair, looking like a girl? Playing, watching television, the images, no awareness of the world and its reality? His dependence on his mother, on the television? Enjoying making the cake, his fifth birthday, upset? The joys, the bath, the meals? Nick bringing the toy, watching through the slats of the wardrobe? Saying goodnight to every part of the room?

7. Joy and her idea of getting Jack out, getting him ready, the carpet, rolling him in the carpet, telling Nick that he was dead, Nick waiting till dusk, putting the carpet in the truck, driving, the bouncing the Jack, his getting free from the carpet, jumping and its effect?

8. Nick, trying to get Jack back, the man walking his dog, his interventions? Nick leaving? The police, the unsympathetic driver, the sympathetic policewoman, her gentle talking to Jack? The information, his remembering the three stops, the red car, the satellite image and finding the house?

9. Joy being rescued, reunited with Jack, their fears, going to the hospital, Jack’s bewilderment, going to sleep? The Doctor, his kindness, helping?

10. Jack at five, sheltered, no real idea of the world, the reflections on different space, different times, people in a hurry? His wearing a mask to avoid germs and infection?

11. Getting out of the hospital, meeting his grandmother and grandfather, Leo? Going to the house, his having his room, the difficulty in going up the steps? His looking at the photos? The gift of the Lego, Joy wanting him to have some kind of relating to reality?

12. His grandmother, kind, Leo and his being pleasant, Leo enticing him to the cereal, talking about the dog, later bringing the dog, Jack and his happiness, patting the dog?

13. The presence of the grandfather, at the hospital, the meal table, Joy and her challenging him, his inability to speak to her, to look at Jack, his having left his wife early, his inability to face reality?

14. Jack and his recovery, step-by-step, Joy and her influence, her talking to her mother, the comment on being nice and this leading to her helping with the dog and her being abducted? The overall effect, the suicide attempt, in hospital, the phone call to Jack, her quiet return?

15. Jack and his grandmother, learning, the issue of the strength in his hair, having the haircut, giving the hair to his mother? His playing ball with his friend, with the dog?

16. Jack wanting to visit room? The kind policewoman? He and his mother at the house, going into room, Jack thinking it small, saying goodbye to every aspect?

17. Joy, gradual recovery, the bonds between Jack and his mother, Joy and the family? The film pending in hope?

WONDER BOYS

US, 2000, 107 minutes, Colour.
Michael Douglas, Tobey Maguire, Frances Mc Dormand, Robert Downey Jr, Katie Holmes, Rip Torn, Richard Knox, Jane Adams, Richard Thomas, Michael Cavadias, Philip Bosco, George Grizzard, Kelly Bishop.
Directed by Curtis Hanson.

It is quite difficult to review this film. It is not an easy entertainment yet it is designed to be an enjoyable film. Critics, so often hard to please, complain when a film runs to a formula, when it uses familiar conventions, and sometimes condemn such a film as too predictable and too undemanding. On the other hand, the public generally wants to have an enjoyable evening out and, if the film raises too many questions and involves them in too many complications, they are disappointed and say it is no good.

This may be the fate of The Wonder Boys.

It has excellent credentials. The writer is Steve Kloves who directed the hit Fabulous Baker Boys and Flesh and Bone. The director is Curtis Hanson who achieved some popularity with thrillers like The River Wild and The Hand that Rocks the Cradle and then went up several reputation rungs with his excellent police corruption drama, L.A. Confidential. This is his follow-up film. The cast is also very strong with Michael Douglas (acting his age unglamorously) as a university lecturer and Toby Maguire as his precociously talented student writer. Frances Mc Dormand is the university dean and Robert Downey Jr reminds us how talented he is as a self-serving and predatory literary editor.

Basically, this is a film about personal confusion. Each of the characters, the middle-aged crises victims as well as the young adult, is struggling with finding what is the right thing to do in their lives. Which means that audiences will vary on whom they identify with because of their particular life-experiences which they bring to watching the film.

Another limiting factor is that the action takes place over only three days (except for the rather surprisingly neat ending). We have to accept the characters as if we had just met them, follow them through the events of the few days and then speculate as to what they will do. Also limiting is the setting: a university department with rivalries and jealousies, ambitions and vanities, not your everyday world.

Michael Douglas is believable as the one-hit novelist who teaches creative writing but whose wife has walked out on him and who is emotionally entangled with the chancellor. He is desperate, trying to avoid the editor who wants his new manuscript which, instead of not being written is actually over 2000 pages long and unfinished. He tries to help the young man who can write well but who has invented an alternate life and who has to come down to earth and reality.

It may seem odd to mention here that one of the key events is the accidental shooting of the department head's pet dog and the lengths they have to go to to hide the body. This indicates how an ironic and satiric tone underlies the serious themes.

So, while The Wonder Boys may not interest many audiences and its style demands that audiences pay attention to characters and their motivations for their moral choices, it is a reminder that 'the movies' can be satisfying and much more than a predictable entertainment

1. Critical acclaim? Awards? Academic story? The academic world as a microcosm?

2. Pittsburgh, Pennsylvania, the University, the University, halls, homes and socials, apartments? The feel of the city?

3. The musical score, the range of songs and composers, Van Morrison, Bob Dylan… – and the Oscar winning song?

4. Strong and varied cast?

5. The title, writers, publishers, their world?

6. The opening tutorial, James and his story, the students’ reactions, negative, comments, dislike and hate? Hannah trying to help? Grady his reaction, thanking Hannah, leaving James in the dark?

7. Michael Douglas as Grady, his age, experience, university lecturer, having tenure, his successful book, seven years later, the long waiting time for his next book, the three bundles of manuscript, single typed, compulsion to continue? His liking students, educating them, helping? Renting the room for Hannah? His wife leaving him that day, his reactions, his not loving her, his later visit to the home, discussions with her parents?

8. Wordfest, getting the students to do the driving, serving, the social, the Chancellor, her husband? Q as a guest, his talk, James laughing at his imagery? His presence, success, his later affirmation of Grady?

9. Grady and Sarah and the dog, the threats? Walter as head of the Department? Going into the room, his love for Sarah, telling him of her pregnancy, and thinking about abortion?

10. The social and guests?

11. James and meeting people, eccentric, his look, the mention of actors and their suicides, dates, means, giving them in alphabetical order? His love of old movies, the scenes from The Picture of Dorian Gray with George Sanders?

12. James, outside, Grady going out, the greenhouse like heaven, the bedroom, the safe combination, Marilyn Monroe’s coat that she was wearing for Joe Di Maggio? The attack of the dog, James and his gun, shooting the dog? Grady and the various times he tried to tell Sarah, unable? Carrying the dog out, in the boot of the car? Its presence in the car – and later putting it in the bed to disguise James’s absence?

13. Grady, awkward, at the social, at the speech, his collapsing? The car?

14. Crabtree, the airport, with the transvestite, Antonia? Everybody recognising her as a transvestite? As a couple, at the social? Grady driving her home, removal of the wig, his becoming Tony? Telling Grady about Crabtree’s problems?

15. Crabtree, his career as an editor, his urging Grady, Grady’s success and his retaining his job? His gay personality? Flamboyant talking, intervening? Surface self-confidence? The attraction to James? Learning about James’s book? The dog?

16. Hannah, liking Grady, the room, helping with the social, taking James to the movies, not knowing his address? Wanting to talk things over with Grady? Helping, especially the comments on the manuscript and his meeting to make choices, that he had made none, everything, the detail included?

17. In the diner, the waitress and her being pleasant? Watching the African- American man, calling him Vern, each of them creating a story and offering different suggestions, James’ eyes shut but listening and contributing? Vern and his declarations about the car, abstracting Grady and his driving, sitting on the car, the one-way street, the discovery that really was Vern’s car?

18. Helping James, staying overnight, the discussions with Crabtree? Grady wanting to help him, James making up all the details of the story, sleeping at the bus station, wanting his special spot, his bad parents, in the basement? His decision to phone the parents, finding the truth? Their coming to get him, affluent, taking James home?

19. The decision to rescue James, Grady and Crabtree, James in the basement, writing, rather lavish, Crabtree reading his lines about Grady? The background of James being absent, and abstemious, wanting control of emotions, beginning to take the drugs, the medication, the marijuana, drinking?
Taking him home, his spending the night with Crabtree? The arrival of the police?

20. The police, investigation about the stolen fur of Marilyn Monroe? Grady not telling?

21. Grady’s night call to Walter, Sarah’s arriving, her reaction? The discovery of the dog? The police questioning? The clash with Sarah?

22. Grady with the car, trying to find the right car, finding Vernon, his gun, the waitress and her pregnancy and wearing the fur? Quivering including those further? The boxes of manuscript in the car? Crabtree, his fear about the gun, driving recklessly, windows and doors, the manuscript scattered to the winds?

23. Grady’s reaction, resignation? His wishing the waitress well, her pregnancy, letting her keep the fur?

24. Grady taking stock, assessing his life, beginning again, or simply?

25. The final gathering for Wordfest, the prizes, James getting a prize because of Crabtree publishing him, Grady urging James to take a bow? The news that Walter’s study would be published, Crabtree’s manipulations and negotiations to smooth things over?

26. Grady, away from the University, writing, saying that he was happy, Sarah arriving home in the car, with the baby?

27. A quiet ending – and happiness?

POINT BREAK

US, 2015, 114 minutes, Colour.
Edgar Ramirez, Luke Bracey, Ray Winstone, Teresa Palmer, Matias Varela, Clemens Schick, Tobias Santelmamm, Max Thieriot, Delroy Lindo.
Directed by Ericson Core.

A quarter of a century ago there was an action film, surfing, robberies, FBI investigation, that made its mark as a cult classic, Point Break, with Patrick Swayze as the surfer leader of the robbers and Keanu Reeves as the infiltrator. In retrospect it is interesting to note that the film was directed by Kathryn Bigelow, who won the Oscar for Best Director and Best Picture in 2009 for The Hurt Locker.

As with all sequels or remakes, many ask whether it is worthwhile – and what is the point! In this case it is to retain the basic plot and central characters but to extend the sports world of surfing to extreme sports, including surfing, skydiving, cliff climbing, trail bike achievement…

Of course, this is one of those adrenaline-pumping films (and, at some times, this is a bit of an understatement). As we sit in our seats, watching all these exploits, extremes that sometimes go beyond imagination, we cannot help but be excited. This is what is called vicarious excitement and entertainment. There may be some in the audience who would actually try to emulate these feats (though not exactly recommended) but most of us sit there identifying, comfortably and often uncomfortably, with the characters and all that tough and demanding action.

And the locations go international. Looking at the credits, one sees that there were shooting units not only in the United States, in Arizona, but also in Mexico, Venezuela, India, France, Austria and Italy. The film is quite spectacular to look at, quite extraordinary landscapes, especially for the trail bike opening ride and the trail called The Spine. The cliff-climbing in Venezuela, the double fall into the rapids, going over a vast waterfall, the extraordinary waves in the mid-Atlantic, the goldmine in Venezuela and the vast avalanche of rocks down the mountain side, skydiving and setting bales of cash free in midair, aiming for specific holes in the ground to dive into – and so on.

Australian Luke Bracey takes the role of Johnny Utah, made so popular by Keanu Reeves. International star, Venezuelan, Edgar Ramirez, is a strong presence and persuasive as the leader, Bodhi. While in the original, the robbers were daring and had a philosophy of edge and over the edge experience, this time the motivation is far more “mystical”, allegedly based on Ogaki, a Japanese adventurer, who made a list of eight daring feats, progressing around the world, defying all kinds of physical challenges. Bodhi’s aim is to achieve all of these. He has an international group with him, including Samsara, Australia’s Teresa Palmer.

There is an altruistic ideology about their exploits, stating that people have taken from the earth and, therefore, they have permission to return something of what was taken to oppressed people – diamonds falling from the air in India, cash in Mexico.

Johnny Utah is earnest as an FBI trainee with Delroy Lindo as his sceptical supervisor, persuaded about Johnny’s theories about where the group will strike next and allowing him to infiltrate, though not without many reprimands after Johnny is absent for 12 days, busy infiltrating the group and with Samsara, who shares the ideals. Ray Winstone is the British agent supervising him locally.

Eventually, there has to be a confrontation, a rivalry between the two men, with Bodhi relentless in his sense of mission and Johnny Utah having to come to terms with extreme sports achievements and the reality of crime, and its consequences, especially killings.

The director is Ericson Core who also acted as cinematographer – no mean feat with such different locations and such hyper-action sequences (actual or expertly using the green screen).

1. An experience of extreme sports, extreme views of life? The FBI story?

2. The original film, for the 1990s? This 21st century remake?

3. The range of locations, extraordinary photography, the variety of nature, beauty, harshness? The trailer bike route and the Spine, the robbery of the diamonds, dropping them on the people in India? The sky diving and the cash exploding in the air and falling in Mexico? The vast waves in the Atlantic? The huge goldmine and the consequent avalanche of rocks? The mountain peak in Italy, the bank, the cabin and the fight? Venezuela, the enormous cliffs, the waterfall, the river and currents? The final waves in the Atlantic? The cumulative effect of these locations – and the importance of green screen processes?

4. The range of stunt work, the special effects, adrenalin-pumping? The pounding score?

5. The effect on the audience, a precarious experience of these extreme sports? Identifying or not with the characters?

6. The trailer bike ride, the introduction to Johnny Utah, to Jeff, the locations, their skills, the bikes, the trek along the Spine, the photography of the riding, the leap onto the rock, Jeff and his overreaching, Utah holding on, Jeff’s fall?

7. The effect on Johnny Utah, his absence from the sports? The decision to join the FBI, the details of the training, instructor Hall, his severity, not believing Utah, the interview, the test?

8. The visuals of the two crimes, the criminals wearing the masks, collecting the diamonds, the consequences, scattering them?

9. The robbery of the money, the bales of cash in the plane, their being hidden under the cabin, pushing the money out, diving, ripping open the bails of money, the scattering of the money for the people? The policy getting back something? Their falling into the vast holes?

10. Johnny Utah and his role in the FBI, his explanation of the Ozaki endurance list? Eight? His working out the links for the crimes, the locations, the sense of direction, the particular extreme skills needed? His explanation to the group of FBi officials, their not believing him? Instructor Hall believing him?

11. Hall, Pappas, the British agent? Pragmatic, not believing the theories, but taking Utah into the ocean, the discovery of the waves, the boat, the young people and the holiday atmosphere, the immensity of the waves, the party, the surfing, Utah going into the waves, his being rescued?

12. The introduction to Bodhi, his philosophy? The touches of eastern mysticism? Environmental causes? These becoming ideology? And disregard for the human lives destroyed in the exploits? The group, his associates, the initial fistfight with Utah, Bodhi giving him respect? The millionaire, young, the boat, financing operations? Samsara, her presence? Utah infiltrating the group, their accepting him – and the later realisation that Bodhi knew who he was and said that he wanted to convert him? The parties, Utah alone, the discussions with Samsara, the sexual experience?

13. Utah realising the future plans, leaving the group, contacting Pappas, Pappas and his video of the sexual exploits? Hall and his anger, Utah away for 12 days, no contact, not obeying orders?

14. His returning, undercover, the plan to steal the gold, the threats to the convoy, Utah stating he was FBI, Bodhi knowing already, the explosions, the vast avalanche, Utah on the bike, the escape?

15. The robbing of the bank, after the FBI closed funds? Italy, on the peak of the mountain? The police and the shootout at the bank, Bodhi escaping, Utah and his pursuit, leaping onto the cabin, the fight, discovering that it was Samsara? The emotional effect and that she was a key member of the group?

16. The plan for Venezuela, Utah with the maps, working out the likely locations? The claim, defying gravity? The details of the climb, the visual attention, Bodhi, his companion, slipping and willingly falling? The two men at the top? Holding each other, Bodhi going over the cliff with Utah? The long fall, into the water, Bodhi and the current, Utah out on the rocks? Bodhi’s disappearance? Utah sitting talking with Pappas?

17. 17 months later, the time for the next huge wave, in the Atlantic Ocean, US territory, the boat, the helicopter, Utah coming down, meeting Bodhi, their final discussions, Utah leaving, Bodhi and his surfing, and disappearing under the waves?