FOR GREATER GLORY: THE TRUE STORY OF THE CRISTIADA

Mexico, 2013, 145 minutes, Colour.
Andy Garcia, Ruben Blades, Oscar Isaac, Santiago Cabrera, Mauricio Kuri, Catalina Sandino Moreno, Eduardo Verastegui, Nestor Carbonell, Bruce Greenwood, Bruce Mc Gill, Peter O' Toole.
Directed by Dean Green.

Mexican story? Early 20th century? The emerging nation? Re Specifically Catholic, and explicitly so is For Greater Glory: the True Story of Cristiada (2013, director Dean Green). It is a recounting of the Mexican uprising, 1926-1929, when militant Catholics, the Cristeros, whose motto was May Christ Reign, rebelled against the anti-clerical laws of President Calles. Disparate groups all over the country were unified under the leadership of a retired general, Gorostieta, which led to a diplomatic solution with Vatican involvement and the mediation of an American ambassador, Dwight Morrow.

The major target of the laws was clergy, the ordinary parish priests and the bishops. Many were brutally killed, some after officiating at ceremonies, others simply because they were priests. Pope Pius XI was condemnatory of the laws and government action. Decades later, a number of those killed, martyred for their faith, priests as well as lay men and women and children were beatified and some canonised by John Paul II and Benedict XVI.

A range of priests are seen throughout the film, differing perspectives on the role of clergy. Peter O’ Toole appears as Fr Christopher, an elderly priest who can’t believe that these situations could arise, is seen at his Church, ornately Spanish tradition, especially with a boy, son of the mayor, Jose, who will follow the priest’s example and defy his father’s exhortation to give in and be cruelly tortured and hanged (and later beatified). Christopher is literally dragged from his Church, declares himself for peace when Fr Vega is championing a violent response to the government. He has not hidden, thought he would be safe in his Church. Wearing black vestments, he speaks words from which the title of the film is taken, ‘Who are you if you don’t stand up for what you believe. There is no greater glory than to die for Christ’. He urges Jose to run and escape. He is lined up against a wall and shot by firing squad.

Another priest, Fr Robles, administers the sacraments and is attacked and hanged in his Church which is smashed and looted, the large crucifix dragged out and burnt on a rubbish heap – but the peasants rise up, shoot at the Federales and hang one of them opposite Fr Robles.

By contrast, the main priest character is Fr Vega, still administering the sacraments, but dressed as a military commander. He and his men (and women who smuggle weapons and bullets by train) attack a train for its gold but set the train alight with many deaths, something which haunts Fr Vega, angers the president, and leads to attacks and reprisals. Fr Vega works with General Gorostieta in a number of assaults, finally outnumbered and both shot. The General has not been religious but at one stage wants to confess but Fr Vega doubts his spiritual change. Ultimately, it is the General to whom the dying Vega confesses.

The film is forcefully pro-Catholic (alienating quite a number of viewers), was partly financed by the Knights of Columbus who are seen supporting the uprising at the time.

1. A Mexican story? Early 20th century? The emerging nation, the history of revolutions? The Catholic tradition? The atheistic movement, the reaction of the Catholics, the persecution, the rebellion?

2. The settings, the 1920s, the church and priests and the ministry, the response of the faithful, the experience of persecution, executions, the role of the military, ordinary people’s reactions? Banding together, rebellion as a crusade, the freedom of religion? The priests, for military action, against it? Leadership? The battles, the massacres, the need for central authority, the approach to the general, his listening, agreeing, his leadership?

3. The locations, the feel of Mexico, authentic aspects of the period, costumes and decor, for civilians, the military, the clergy, the government? The musical score?

4. The action sequences, the reality of war? Editing and pace?

5. The President, his government, his attitude, legislation, talking with his advisers, the outbreak of persecution, the role of the government, the use of the military? Anti-religion motivations? The success of the persecution? The nature of the revolt? The response of the Vatican? Quoting Pope Pius XI? The role of US, the President, the ambassador, the negotiations? The President and his compromise?

6. Father Christopher, Peter O’ Toole, his attitude towards his ministry, standing firm, against violence, his being urged on by the revolutionary priest? The young boy, in trouble, his friends, stealing, his changing, work for the priest, his family background, his father as Mayor, his running away with his friend to join the rebels, the ordinary menial tasks? The arrest, the torture, the appeal of his father, his death? The later information about his beatification?

7. Father Christopher, his standing fast, been removed from his presbytery, the firing squad?

8. The parish priest, defying authorities, being hanged, the revolution is getting revenge on only in the military?

9. The revolutionary priest, the discussions about war, his gathering the men, his stances, becoming military?

10. The people involved, the men and women, the women smuggling the arms, their characters, families, the dangers, the deaths?

11. The General, in himself, his past history, the approach to him, the response of his wife, the discussions, his agreement? Seeing him in the field? The unifying the rebellion? His later meeting with the President and their discussions? His reactions to the military priest, the discussions about faith, and issues of confession, the priest refusing the General confession, urging him to repentance? The priest being wounded, his confession to the General? The General being killed?

12. The years of the campaign, blood, massacres, executions, the bloodthirstiness and viciousness of the persecution?

13. The need for intervention, Vatican, the United States, the role of the President, his adviser, the new ambassador, the discussions and his diplomacy, success?

14. A film of a heroics\, crusade? The role of the Catholic Church?

15. The information about the canonisations and the beatifications?

BLOOD TIES

US, 2013, 127 minutes, Colour.
Clive Owen, Billy Crudup, Marion Cotillard, Mila Kunis, Matthias Schoenaerts, James Caan, James, Noah Emmerich, Lili Taylor, Griffin Dunne.
Directed by Guillaume Canet.

Blood Ties is based on a French film, Les liens du sang. It is directed by French actor and director, Guillaume Canet, who also directed the French adaptation of Harlan Coban’s, Tell No One. Here, he collaborated on the screenplay with American director, James Gray (who, then went on to direct Canet’s wife, Marion Cotillard in The Immigrant).

The film is set in the 1980s in New York City, the world of police and the world of crime. It focuses on two brothers, one criminal,Chris, getting out of prison, and the other, Frank, on the police force. The former is played by Clive Owen and the latter by Billy Cruddup. They have a chequered past, especially with their father, James Caan, and the absence of their mother. Lili Taylor plays their sister.

The film begins with a raid which is unsuccessful, Frank, participating, and the result disappointing to his police superior, Noah Emmerich. The film then shows Chris leaving jail, dependent on his brother who has not visited him for years, settling into his apartment, his brother getting him the job in a garage, their going to visit their father in hospital.

Subplot involves Zoe Saldana, formerly involved with Frank, but now married to a criminal, played by Matthias Schooaerts, who was arrested, jailed, with Zoe Saldana separating from him and reuniting with Frank.

Chris goes back to see his wife who is now prostituting herself to support the family. She is played by Marion Cotillard, resentful towards Chris, then depending on him for setting up a house as a brothel, leading to difficulties and his arrest after he becomes involved in several crimes, including shootings, and pursued by his brother, Frank.

The film ends with blood ties being strong, Frank warning Chris about his impending arrest, but Chris hearing that Zoe Saldana’s husband was about to shoot them, going to Grand Central Station and shooting the husband, saving his brother. The complexity of Blood Ties.

An interesting and quite arresting crime drama, family drama.

1. The title, two brothers, family ties?

2. New York City, police and crime, lives of families, the world advice and crime, brutality, prisons? The musical score?

3. Introduction to Frank, the criminals telling jokes, the raid, shootouts, the getaway? Connellan and his leading the raid, his attitude, Frank and his
behaviour, the results? The interrogation of Scarfo, his arrest, imprisonment? The irony of his wife being present, the former relationship with Frank, the consequences? Her own past, memories, the reasons for Frank breaking with her, his change of heart?

4. The introduction to Chris, in jail, Marie and Frank coming to meet him? Visiting his father, the hospital? The return to jail, Frank moving for the job, Chris moving in with his brother? The menial work at the garage? His encounter with Natalie, the missing cash, his giving her the money, the lift in her car and the growing relationship?

5. The story of the past, Chris and Frank and their father, his character, hard, Frank enquiring about his mother, the father’s description, so negative on his wife? His kicking her out, Frank and his age? His confessing that he probably favoured Chris? Chris and his crimes, Frank and his running away and watching, Chris and the arrest, jail?

6. Chris and Monica, his return, her sitting glumly, the children not recognising their father, his gifts to them, the little girl dancing, with Frank? Monica and her anger? Coming to the bar, address, prostitution, the motivations, the need for money? Helping Chris after he was shot? Chris and his setting up, the house, the girls, the cash? Her former drug taking and her being clean? Going to the bar, Chris upset? Leading to her arrest, interrogation?

7. Frank, his life, his career, the past relationship with the Vanessa? Her angers, the confrontation, the sexual encounter, their living together, her son? Christmas, going to Frank’s home at the dinner? Going to visit her husband in jail? Separating, saying that he could not be trusted?

8. Chris, his old friends, the bar, the prospect of the job, his agreement, on the bike, the murders, no mercy? Taking the cash? Other jobs, the preparation, his garage being robbed and his reaction to the boss, leaving? The friendship with Miko? The plan for the kiosk? The inspector and his promises, breaking the promises after the renovations? Angers and burning it down? Cars, vans, shootouts? The robbery, following the van, the confrontation of the robbery?

9. Frank watching, guessing about Chris, the pursuit, wounding him, looking into his eyes, later touching his shoulder and verifying the wound?

10. Their father, thanksgiving, Marie cooking, the two sons and their jibes at each other, fight? Chris and the gift of the television for his father, the ring for Natalie? New clothes?

11. The father, his illness, trying to make peace, his death?

12. Chris, the arrest at Christmas, the charges? His harsh treatment of Natalie, her being hurt, his later apology, the ring, the plans for the wedding, inviting Frank, Frank not going, Chris saying he understood this, requesting him to be his son’s godfather?

13. Frank, the authorities, suspicions, his being suspended, his resigning? At home, with Vanessa, the renovations?

14. The plan to arrest Chris, Frank on the phone call, the knocking signal, flashback to the past and Frank’s behaviour at Chris’s arrest, Chris getting away, meeting up with Miko? Getting the information about Vanessa’s husband and his being freed, vengeance?

15. Frank and Vanessa, the plan for the holiday, at Grand Central Station, the husband pursuing, Chris following him, the confrontation with Frank and Vanessa, Chris shooting the husband? Arrested, smiling, Frank’s final look?

IQ

US, 1995, 100 minutes, Colour.
Meg Ryan, Tim Robbins, Walter Matthau, Stephen Fry, Lou Gilbert, Gene Saks, Joseph Maher, Tony Shalhoub, Frank Whaley, Charles Durning.
Directed by Fred Schepisi.

A film with Water Matthau playing Einstein as a fairy godfather sounds very attractive. The actor obviously relishes his role, combining his familiar mannerisms with the persona of Einstein, stories of his past, his relativity theory and other investigations as well as seeing him with three of his friends, played by old character actors, Gene Saks, Joseph Maher, Lou Gilbert, who then join in his matchmaking.

Meg Ryan was very popular in the 1990s after such films as Sleeping in Seattle and You’ve Got Mail. She plays the blend of cute and ingenuous. Tim Robbins was popular at the time as a leading man – and there is the value of seeing Stephen Fry in a film role before he became so much more famous.

The setting is Princeton, Tim Robbins playing a garage mechanic with an interest in physics, attracted to Meg Ryan and then finding that she was Einstein’s niece, the old man and his friends then providing Robbins with a speech for Princeton University and helping him with an IQ test. And, of course, it all into happily ever after.

Fred Schepisi had made his reputation in Australia, especially with The Devil’s Playground and The Chant of Jimmy Blacksmith, before moving to the United States and making films there for several decades, including The Russia House and Empire Falls. Back home he made Evil Angels in 1988 and a film version of Patrick White’s The Eye of the Storm.

1. A pleasing romantic comedy of the 1990s? Relying on Meg Ryan’s charm, cuteness, ingenuousness? Tim Robbins and his style? Walter Matthau and his comedy, Stephen Fry and his screen persona?

2. The title, the Princeton setting, academia, Einstein and his friends and their discussions, the references to Einstein’s career and achievement? Catherine and her mathematics? Ed and his interest in science and reading the magazines? Academic achievement, Princeton reputation, seminars and funding?

3. The New Jersey settings, the suburban streets, homes, the University? The musical score?

4. The focus on Einstein, audience response to him, knowledge of him, Walter Matthau playing him as elderly, congenial, matchmaking? His three associates, the character actors, the personalities, the discussions with Einstein, their all joining in the matchmaking? Helping Ed, his fusion theory, the testing at Princeton, his speech, their approval, the indicating the answers for his multiple-choice test? Like four guardian angels?

5. Catherine, academic, with James, shared interests? Engagement but not particularly engaged? In the car, the breakdown, the encounter with Ed, leaving her watch, and his returning it, her abruptness, the apology? The result of the matchmaking, getting interested, wanting an academic, inviting him to the seminar, responding to his speech, considering it, the issue of disproving a theory? The relationship with James, his absorption in his work? The romance with Ed and, her moving from her head to her heart?

6. Ed, at work in the garage, his colleagues, the attraction to Catherine, fixing the car, the group working on Einstein’s car and making it convertible? Going to the house, discovery of who Catherine was, talking with Einstein, sharing discussions? Giving Einstein the ride on the motorbike? His exhilaration? Working with the friends, his speech and his nervousness, the response, James wanting to test Ed, the IQ test, the physical and dexterity side, the multiple questions and the friends all helping him? James trying to expose him, Einstein coming to the rescue, the paper and the disproving of the fusion theory…? The happy ending with Catherine?

7. At the garage, the workers, meeting Einstein and their admiration, working on his car?

8. Einstein, Catherine, the rain, his talking to her, her changing her mind?

9. The head of Princeton, the symposium, the funding, his being pleased with Ed? The visit of Eisenhower…?

10. The equivalent of the 1990s romantic fairytale?

SMILIN’ THROUGH

US, 1941, 100 minutes, Colour.
Jeanette Mac Donald, Brian Aherne, Gene Raymond, Ian Hunter, Patrick O’ Moore.
Directed by Frank Borzage.

Smilin’ Through is a pleasant, very old-fashioned romantic drama with the inclusion of many familiar songs for Jeanette Mac Donald, Drink to me only with thine eyes, Smilin’ Through, the Kerry dancing. This film came in the final years of her quite long association in musicals with Nelson Eddy. It was not necessary for the leading men of this film to be singers.

The film had already been made in 1932 with Norma Shearer and Fredric March.

The setting is England in the late 1890s, the anniversary of Queen Victoria’s ascent to the throne. An English village is celebrating, especially with the minister, played by Ian Hunter, talking with the local landowner, Brian Aherne, who still laments the death of his wife 30 years earlier. The minister brings his young niece from Ireland and she becomes part of the household – the film then moving to the period of World War One, with Jeanette Mac Donald appearing as the dead wife as well as the adult niece. The young man (and his father in flashbacks) is played by Jeanette Mac Donald’s real-life husband, Gene Raymond.

Surprised by rain, she and a soldier friend, take refuge in a local mansion which had been abandoned by its owner. His son comes from the US to enlist and they fall in love – but, the past tragedy is revealed, that the man’s drunken father, in love with the Lord’s wife had attempted to shoot the Lord but his wife moved in front of him and died. The old man has remained embittered for many years and forbids his niece to have anything to do with the young man.

He returns after fighting for three years, wounded, in the film moves to some kind of resolution, the old men finally relenting, allowing the love of his wife to help him consent to the young people’s marriage. The film ends with the young people driving up a road while the elderly ghosts ride a horse and carriage in the opposite direction.

Direction is by Frank Borzage directed Seventh Heaven, A Farewell to Arms and some fine films at MGM at the outbreak of World War II including Three Comrades, The Mortal Storm.

1. A pleasing romance, old-fashioned, the end of the 19th century and Queen Victoria’s reign, the era of World War I?

2. Colour photography, English settings, the village, the church, mansions, the canteen? The atmosphere of the 19th century? The early 20th century?

3. The addition of songs for Jeanette Mac Donald? The range, old favourites, Drink to me only, Smile in Through, the Kerry dancing, the long road winding…? The placement of the songs?

4. The opening, the anniversary of Queen Victoria, the celebration in the church, the singing, Owen and his leading the service, John and his leaving, unable to join in, going to his wife’s grave? The friendship between the two? Owen explaining about the niece, her parents dead, her being in the next room, her prim manner, refusing offers, not necessarily liking John, getting to like him? His adopting her?

5. John and his memories, the insertion of the flashback about the wedding, Moonyean and her love for John, the celebration, the singing, Jerry drinking, in love with her, asking her not to marry, going into the church, the gun, her standing in front of John, her death and her promise to be with him always? The scenes of her appearance, John relying on her, his growing hardness of heart, her saying she was unable to reach him? The finale when he was kind and understanding, coming to meet him, his seeing his old body, getting into the coach and horse – a version of heaven?

6. John, old, 50-year-old memories, devotion to Kathleen, her place in the house? His playing chess with Owen? Their both getting involved?

7. World War I, Kent and hearing the guns from France and Belgium? The rain, Kathleen with Willie, taking shelter in the house, opening it up, the fire, Ken’s arrival, the embarrassment, drinking the port, the immediate attraction?

8. Ken, the portrait of his father, American, coming to join up for the war, Willie as a soldier, Kathleen and her help on the home front? Falling in love, the scenes between the two, the picnic, her talking with John, his hostility, seemingly implacable, his telling her the story of the wedding, her promise, to break with Ken, telling him the story, his leaving, unwilling to marry her?

9. Three years passing, his return, wounded, wanting to sell the house, going to the canteen, hearing Kathleen sing? Going to the house, Owen seeing him, telling John? Kathleen finding Ken, his coldness, her not being able to understand, going home? John and his relenting? Kathleen saying that remembering the loss had not helped John? His urging them to come, Owen arriving, playing chess, John’s death?

10. A happy ending, Kathleen and Ken in the car, John and being in in the carriage – The happy ending?

ALLELUIA

Belgium, France, 2014, 93 minutes, Colour.
Lola Duenas, Laurent Lucas.
Directed by Fabrice Du Welz.

Alleluia is not so happy as it title would seem to indicate. It is a film about macabre serial killers – with more than a touch of gory violence. It is directed by Fabrice Du Welz who directed Calvaire and the English-language Vinyan.

The film focuses on a Spanish woman working in a morgue who encounters a pleasant middle-aged man, is carried away by his seduction, becomes infatuated, jealous when she sees him with other women, but gets a hold over him so that they continue his murderous work of killing rich women.

They pose as brother and sister, he ingratiating himself with several women – the film is divided into chapters with the names of the central character for each - seduces them and then murders them, the two disposing of the bodies. The woman is unstable and possessive, gradually taking a complete hold over the man.

More of a film that appeals to those who like films about serial killers.

1. A film blending the erotic and the violent? Touches of horror? Blood and gore?

2. The Belgian locations, city, homes, clubs, morgue, isolated areas? Musical score?

3. The film divided into chapters, the focus on Gloria, Michel, the three victims?

4. The focus on Gloria, her work at the morgue, with human bodies, her past, unmarried, her relatives, from Spain?

5. Michel, the gigolo, the encounter with Gloria, his seductive manner? His explanation of himself – and later having to explain the truth?

6. Going out together, the sexual encounter, the effect on each of them? Gloria and her infatuation? Seeking out Michel?

7. Finding him, his being with the other women, his excuses, her emotional reactions?

8. Her reaction to the truth, setting up a mode of acting, capitalising on his charm, moving in with the women, elderly, in need of affection, their wealth, Gloria stating that she was Michel’s sister, allowed to stay in the house?

9. Her jealousy, acknowledging that Michel could act in this way but emotionally not?

10. The portrait of the three women, in themselves, their emotional needs, the response to Michel, the sensuality, overcoming loneliness?

11. Gloria, reactions, becoming more manic and possessive?

12. The murders, grim, the details, dismemberment, disposing of the bodies?

13. The interaction of the two, the possibility of this way of life continuing – not?

BUREAU OF MISSING PERSONS

US, 1933, 73 minutes, Black-and-white.
Bette Davis, Pat O' Brien, Lewis Stone, Glenda Farrell, Allen Jenkins, Ruth Donnelly, Hugh Herbert.
Directed by Roy del Ruth.

Bureau of Missing Persons is one of short films produced by Warner Brothers in the early 1930s, with Roy del Ruth, a regular director. It is a star vehicle for Pat O’ Brien, wisecracking, solving cases, the guy. Lewis Stone is the sympathetic head of the bureau. Allen Jenkins is a detective with Ruth Donnelly and Hugh Herbert in solid support. Bette Davis has a smaller role, on the missing persons list but also as a woman accused of murdering her husband.

1. Warner Brothers programmer from 1933, strong cast, the dialogue, brief running time, black-and-white photography, life in the police precincts, in the American city, musical score?

2. The title the police department, the police involved, files and searches? Personalities? Dealing with the public?

3. Lewis Stone as the head of the department, his kind disposition, managing personnel, dealing with his staff? Dealing with Butch? Assignments for Butch?

4. Butch Saunders, his personality, overbearing, suspects, violence, not wanting to transfer? His relationship with the head of the department? His relationship with his ex-wife, her continually turning up, giving her money, suspicious of her? His search for the missing violinist, searching in the streets, finding the boy, bringing him back, his oppressive parents, their exploiting their son, money, condemning him to long practice? Butch and his regrets about bringing him back?

5. Norma her impact, reporting the missing husband, Butch and his suspicions, arranging the funeral, her curiosity and turning up? Also being wanted for murder? A missing person? The interactions with Butch? The setup of innocence or guilt?

6. Belle, relationship with Butch, regularly turning up for the money, her boyfriend, Butch and his violent treatment her?

7. The partner, shrewd, his cases, finding the missing person?

8. Supporting cast in the office with Ruth Donnelly and her typical style, Hugh Herbert toning down his mannerisms?

9. An enjoyable film of its time, fast paced, wisecracking and fast paced dialogue?

ALEX AND EVE

Australia, 2015, 95 minutes, Colour.
Richard Brancatisano, Andrea Demetriades, Ryan O 'Kane, Tony Nikolakopoulos, Zoe Carides, Simon Elrahi, Millie Samuels, Alex Lykos.
Directed by Peter Andrikidis.

As with all fiction films, there is a statement at the end declaring that any similarity to actual persons is merely coincidental. For this film, with its characters and caricatures, as if…

Yes, we are supposed to think of Adam and Eve, but this is an Australian story, Sydney settings (which should do a lot for Sydney tourism, especially for the Harbour Bridge and climb and the magnificent views from the top). But Sydney is no Garden of Eden.

Alex comes from a Greek family, a Greek Orthodox family, the father, now a big boisterous man, self-made and comfortable, the mother patiently supportive, who sailed under Sydney Harbour Bridge 40 years earlier as migrants to make their lives in a new world. One of the main ambitions for the family is for Alex to have a Big Fat Greek Wedding, continually taunting him about it. He is a schoolteacher, maths (and explaining that Pythagoras and other Greeks invented mathematics). They are churchgoing but faith is not a strong suit for any of the men.

Eve comes from a Lebanese Muslim family, and, at the beginning, there is a Modest Fat Lebanese Wedding, for Eve’s brother, giving us the tone of Muslim customs and ceremonies in a Sydney backyard. She is a very successful lawyer.

It is not exactly love at first sight, he being dragged along by his friend to a harbourside club, she accompanied her assistant at work, each looking the other way and pulling on a stool at the bar, Alex pulling harder and Eve falling not exactly for him but because of him and he spilling beer on her dress as he helps her up. They talk, becoming calmer, go for something to eat, and feel something of an attraction.

Alex invites Eve to come to his class, a rowdy multicultural group with Chris, a footballing and swearing type, leading the pack, urging Sir to get a girlfriend. Eve asks them who wants to have a career helping people – and there are no takers. When they are asked if they want to make a lot of money, all hands go up.

The couple goes out, enjoys each other’s company, climb the Harbour Bridge, though Alex is a touch vertiginous, but makes it to the top and they kiss.

Which, of course, is putting off the evil day, when they have to tell their families. In the meantime there are lots of Greek scenes, lots of yelling and screaming. And, in the meantime, there are lots of Lebanese scenes, and a fair amount of yelling and screaming as well. There is a possible fiance in Beirut with whom they often Skype and who will turn up soon in Australia.

Multicultural? The Greeks abhor the Lebanese and vice versa, their memories of hundreds of years of pride and animosity, and differences of religion, it being unthinkable that anyone should marry outside the religion, either orthodox or Muslim. Greek dad and Lebanese mother are particularly vocal.

There is a scene where the two families meet – disaster.

Of course, what are they to do? Will Alex rebel and move out? Continue to see Eve? Will Eve defy her parents, agree to a marriage with the fiance? Well, yes and no – which means then that we have to see the film to find out how true love will conquer (as, of course, we know that it will – and if we have memories of the end of The Graduate, we might make a wager as to how it will turn out).

Lots of characters, lots of caricature is, but Alex and Eve are a very pleasant couple, rather picture book and each good-looking, played by Richard Branca tisano and Andrea Demetriades. The screenplay, adapted from his play Alex Lykis (who plays Alex’s brother) is not meant to be particularly subtle, nor are the points to be made, necessary though they be, and it relies on humour with touches of satire. To many Australians, the mutual intolerance and derogatory attitudes of both sides, especially concerning marriage outside the culture and religion, may seem impossible – we might note that less than a century ago, Christians of various denominations talked this way and were not allowed into each other’s churches and marriages between churches frowned on…).

1. The title, expectations?

2. The Greek Orthodox background, Lebanese Muslim background, expectations?

3. The Sydney setting, migrants to Australia, bringing their traditions, often centuries old, old enmities, national pride, intolerance, labelling, derogatory aspects? Australia and its multi-cultural composition, multi-religious?

4. The film as a romantic comedy, but satiric comedy, humour making its points, serious points?

5. The introduction to the Greeks, the anticipation of My Big Fat Greek Wedding? The Medium Fat Lebanese Wedding, and the rituals and the ceremony
for Eve’s brother’s wedding?

6. Alex, his family, his brother, parents, the Greeks stances, the strong use of Greek language? The boisterous home? Alex and his teaching, Pythagoras and the Greeks inventing mathematics? the range of kids in the class, Christians, Muslims, Australians – and the multicultural looking down on Australians, beer clichés and all? The different students, their reactions, Alex’s reactions, bringing Eve into the class, talking about being a lawyer, the not wanting to help others, all interested in making money? The visit to the mosque, Eve’s father and his discussions, guidance? The kids and their squabbles, breaking up, family pressures against Australian-born, Chris and his winning the prize? The kids urging Alex on?

7. Going with Paul, the nightclub, getting the stool, even falling, literally for or because of Alex? Accident-prone? Paul, girlfriend, sex? Alex and Eve, their discussions, going to eat with takeaway? The awkwardness, an attempted kiss, shaking hands? Eve going to the school? Their going out, the gym and the Greek coach and his attitudes, the caution about their families? Climbing the Harbour Bridge, Alex’s fears, the ascent, the kiss at the top, the photo? Sharing so much, the possibilities, the effect of their love?

8. Eve, at home, the family Skyping the almost-fiance in Lebanon on? The mother, her pressures, the more reticent father? Some happy dancing sequences at home?

9. Alex, his family, his boisterous father, the self-made man, putting the garbage out and Eve’s accusation? The mother and her concern? The collapse and going to hospital?

10. The Greek parents, their stories, making money, support, rebellion or not and Alex possibly leaving home?

11. Eve’s parents, her fanatical mother, the father at the mosque, the family prayers, the traditions and faith?

12. The Greek family visiting the Lebanese? The preparations, warnings, the gradual insults, the criticisms of the food, bigotry on both sides, the fiasco of the visit?

13. Eve, reliance on Clare, the humour of eaves mother covering up Clare, looking at her photos, the presence of fiance, his expectations of the marriage, wondering about Alex and his family? Agreeing to the wedding?

14. Alex, upset, his brother talking about his separation from his wife and whether he loved her, moving out, alone?

15. The visit of Eve’s brother, Alex and his declaration? The car, going home, gathering the family, their driving recklessly through Sydney, arriving at the wedding?

16. The wedding, the traditional dress, Eve and her wedding dress, the pomp, the elaborate ceremonies?

17. Alex, intervening, Eve’s refusal, the imam asking several times whether she was giving free consent? Her change of heart?

18. Running away, the escape – and memories of The Graduate? All the families and all the characters dancing happily together?

SLEEPING WITH OTHER PEOPLE

US, 2015, 101 minutes, Colour.
Jason Sudeikis, Alison Brie, Jason Mantzoukas, Margaret Odette, Amanda Peet Adam Scott, Natasha Lyonne Mark Blucas.
Directed by Leslye Headland.

The title is not particularly subtle and does indicate something of the theme of the film – though it underplays the most important part of the film, the difference between sexual activity and love.

This is in New York romantic comedy with a difference. It opens in 2002 on a college campus, an eccentric young woman, Lainey (she abhors being called Elaine) carrying on in a corridor, angry with the medical student with whom she wants to have sex. She is rescued by an onlooker, Jake, who takes her into his apartment, calms her down, they talk, and each, for the first time, has sex. They don’t see each other for another 12 years and then only by accident.

The bulk of the film takes place 12 years later. Lainey is still having an affair with the medical student who has now become an ultra-serious doctor, who has also become engaged. Lainey is still infatuated, bitterly disappointed, not handling things particularly well and her therapist advises her to go to a sex addicts’ meeting, a 12-step meeting. Jake, who now has a good job, has been inventive with his work, is a serial womaniser notices her. When they meet, they recognise each other, dwell on the memories.

What happens is not what we might expect in terms of their relationship – they continue acting according to the title of the film, but not with each other. Instead, they renew their friendship, which remains Platonic, deepening all the time, a genuine intimacy arising, their trusting each other, confiding in each other, relying on each other for their different personal crises.

The key to the film is this exploration of what this Platonic relationship means.

During this friendship, Lainey takes up with a businessman, thinking that this will be the solution – but he takes to her to a social where, who should be present but the doctor and his now pregnant wife. It is too much for her. In the meantime, Jake and his close friend, Xander, who has been married a long time to his wife, and they have a son, have been successful in business and have been bought out by Paula. Jake sits his sights on Paula. It seems to be a future, especially as he relates well to her son.

When Lainey goes interstate to study medicine, they both realise how much they miss each other, that they have genuinely fallen in love – and the challenges as to what are the consequences…

Alison Brie as Lainey and Jason Sudeikis as Jake convince us while they are on screen, especially in their living out the Platonic relationship.

The Lainey and Jake of 2002 could never believe that this is how they could be 12 years later – something which may make an impact on audiences in their 30s who may have gone through similar experiences and are being challenged to make decisions about their future lives.

To that extent, the film is something of a moral parable in an age of confused sexual morality and very frank expression of it.

1. A romantic comedy, but for audiences in their 30s? Memories of the 20s? Differences, difficulties, characters, changes in life? Issues of virginity, sex, partners? Discussions and confiding?

2. The title, as lived out by Lainey and Jake?

3. The theme of Platonic love, the contrast with sexual activity and anguish, something deeper, trust, developing, into love and a future?

4. The frank and explicit language, more familiar from real life than on the screen?

5. The beginning, 2002, the ages, Jake and his watching, Lainey, her carrying on, her reaction, her relationship with Matthew, Jake’s poor impression of him, boring? Lainey calming down, the discussions, the night together, talk, sex, not seeing each other for 12 years? The memories?

6. New York City, college, the meeting, the 12 steps, intertwining of lives, apartments, restaurants? The musical score?

7. Lainey, her affair with Matthew, his being uptight, going to visit him, getting into his office, his becoming engaged, the sexual encounter? His marrying? Lainey still stood in love with him, pining for him, activity on the rebound? Going to the 12 steps meeting on the advice of her therapist?

8. Jake, relationships, his job, success, partnership with the Xander, friendship with his wife and family? His relationships? The 12 years? Paula, the boss, the meetings, the contracts and signing, making the money, his advance and her?

9. Jake meeting with Lainey, the nature of their continued friendship, the encounters with other people, Lainey and the businessman, the effect of being with him, going to the social, Matthew and his wife and her pregnancy? Lainey sick and the clash with the wife? Jake, Paula, the date, the outings, her son and his taking to Jake?

10. Paula, her work, a future with Jake or not?

11. Xander, his wife, the party, Lainey and her calming the children, teaching them to dance?

12. The ups and downs of the Platonic relationship, talk, dependence, communication, sharing, the intimacy? Crises?

13. Lainey, deciding to go to college, medical studies, going away, the phone contacts?

14. Jake, needy, phoning Lainey, her return? The decision to marry, the wedding arrangements, the wedding dress in the streets, going to the hotel first?

15. The credits, Xander and his wife and their frank talk?

16. Audiences the same age identifying with the characters, the relationships, language, struggles?

THE LAST WITCH HUNTER

US, 2015, 106 minutes, Colour.
Vin Diesel, Michael Caine, Rose Leslie, Elijah Wood, Olafur Darri Olafsson, Rena Owen, Judy Engelbrecht, Isaach de Bankole.
Directed by Breck Eisner.

For any audience who has always wanted to see Michael Caine on screen as a priest, at last an opportunity. After more than 50 years in films, he is still a significant screen presence.

Not that every Michael Caine fan would necessarily want to see the The Last Witch Hunter. It is one of those action adventures, a blend of the historical and the contemporary, overtones of witchcraft and the demonic, scenes back in the Middle Ages where the wicked Queen Witch is unleashing the black plague over Europe, eerie battles in dark and caves, then to contemporary New York City (where, according to American films, so many apocalyptic crises have to take place).

As one can tell by the title of the film, it is one of those stories with a graphic novel imagination. And this is a special project for Vin Diesel who is one of the producers as well as the star – a bit more humane and sometimes smiling than his Fast and Furious outings… But, he is the action hero, the witch hunter, whose destiny is to save the world.

The Medieval scenes definitely have an atmosphere, though an unrecognisable Diesel (hair and beard) has a robustly difficult time confronting and destroying one of those special effect hags with a threatening and sinister voice.

To continue with the atmosphere, there is a transition to Abu Dhabi airlines (strong product placement) and a young which on board the plane causing an enormous storm which alarms the passengers – but the hunter, Kalder, takes the witch to task, calms the storm and makes a date with the flight attendant. And this brings him to New York City in the present, when he continues his witch hunting, cursed by the Queen with immortality and his having to adapt for over 800 years to each generation. (He is particularly up-to-date on IT, taunting Michael Caine’s priest about having an IPad - with Caine later squashing a sinister beetle with his book and remarking that you couldn’t do this with an iPad!).

The reason that Michael Caine appears is that he is the 36th in a line of priests who belong to the organisation, The Axe and the Cross, protectors of the witch hunter. He is about to retire and, of all people, Elijah Wood, is to be his successor, a very earnest young priest, diligent about his mission and trying to learn.

The other principal character is a witch, Chloe, who runs a bar with New York witches as her clientele. Kalder helps her and she then supports him in his quest for the disciples of the Queen and, eventually, the Queen herself whose heart has been preserved by her disciples and in their plan for her comeback for the 21st century world.

One doesn’t have to be a genius to work out what happens, especially the final confrontation – though there is a twist with one of the characters that might have been anticipated.

The Last Which Hunter doesn’t pretend to be anything else than it is, a comic-book action show – and that is what it achieves.

1. Action show? Witches and the demonic? Witch Hunters?

2. The Medieval sequences, dark, caves? The contemporary look, New York City, the streets, buildings, churches, libraries and studies, underground? Interiors and exteriors? The musical score?

3. The title, Vin Diesel and his style, more smiling than usual, yet serious, the action hero?

4. The situation, the power of the witch, the disciples, spreading the plague in the Middle Ages? The effect on the populace? The hunter and his going to the cave, his troops, their being decimated? The fight with the Queen? Taking her heart? Her curse, making him immortal, the loss of his wife and child?

5. New York City, Kalder, his being immortal, his role, personality, adapting to changes over the centuries – even to Information Technology (and Michael Caine’s joke about the IPad and its crash and the Beatles)? His mission over the centuries? The confrontation with rogue witches? The attacks being visualised?

6. In the plane, the storm, confronting the young witch, unleashing powers, the fear for the passengers, calming the storm? The date with the flight attendant? His New York apartment?

7. The Axe and the Cross, the organisation, the hierarchy? The role of the Dolan, Michael Caine as the 36th:, his appearance as a Catholic priest, his explaining the situation, preparing for his successor? His point of view, relationship with Kalder? His being killed? Finding his body, his still being alive, the time for his revival? His coming back to life, the discussions with Kalder, his observations about Kalder and his mission?

8. Dolan 37, Elijah Wood and the contrast with Michael Caine? His earnestness, the seminary, his sense of vocation, the death and the pursuit of the murderer? His age, role, memories of his parents and their deaths, helping, consulting the books, going into the caverns? The end, with Chloe, the confrontation, his betrayal? His approach to the Queen, his wanting magic powers, her destroying him?

9. The killer, in the streets, Kalder finding him, going to the Council, their judgement, their severity, and issues of justice? The Axe and the Cross? The council later being destroyed by the witch Queen and her disciples?

10. The killer, the pursuit, Belial and his presence, large, stalking, the confrontations?

11. Going to the club, Chloe and her management, the customers, Kalder and his reaction, her powers, clearing the bar?

12. Chloe, as a witch, her home, the clashes with Kalder, his saving her, helping her? Her support?

13. The new situation, the Queen’s heart present in New York City, the plan, the disciples?

14. The climax, the caves, the arrival of the Queen, arising, the heart? The fights, deaths, Chloe and her trance, action in her mind, the Dolan meant to help
her, his betrayal? The survival?

15. Kalder, the confrontation with the Queen, the viciousness, her words, death?

16. Kalder, his choosing mortality, Chloe, meeting again with Dolan 36? Mission accomplished?

DEATH ON THE DIAMOND

US, 1932, 71 minutes, Black and white.
Robert Young, Madge Evans, Nat Pendleton, Ted Healy, Paul Kelly, Edward Brophy, Mickey Rooney.
Directed by Edward Sedgwick.

Death on the Diamond is an MGM programmer of the early 1930s. One of the advantages for American audiences is that there is a lot of baseball and the use of contemporary players. This may well be lost on later generations and on non-Americans.

While the film is basically a baseball story, the murder mystery is years worked into the plot, and a lot of shenanigans behind the scenes.

The focus is on Robert Young, star baseball player, hired by a team down on its luck, his relationship with the coach, his cocky assurance, his encounter with the coach’s daughter, Madge Evans, a feisty young woman, advising her father, attracted to the player but making her own stances. In the cast are Nat Pendleton as a top player, Paul Kelly as a journalist investigating, and a very young Mickey Rooney during his usual character, earnest and assured.

There are mobsters in the background, the coach needing his ace player so that his team will win the pennant and he will be able to pay off his debts. His players begin to be killed off – which means that in 71 minutes there has to be a successful romance, a successful winning of the pennant, the defeat of the gangsters and the revelation of the murderer