IF THERE BE THORNS

US, 2015, 100 minutes, Colour.
Heather Graham, Rachael Caparni, Jason Lewis, Mason Cook, Mackenzie Grey, Jedadiah Joe Goodacre, Emily Tennant.
Directed by Nancy Savoca.


This is the third film made for television of novels by V.C. Andrews. They began with Flowers in the Attic, continued with Petals on the Wind. There is a final film Seeds of Yesterday.

This is a story about Chris and Cathy, the two children of Corinne, their self-centred mother who agreed that they should stay in the attic of three years, dominated by her mother. Petals on the Wind tells the story of Chris and Cathy as young adults, Cathy having children, one with her ballet-dancing husband and then with her mother’s husband. She marries Chris and they settle down to a secret life.

This film shows them with their two children, Jory the son of the ballet dancer, and Bart the son of her grandmother’s husband. All seems normal until, Corinne gets out of institution buys the dilapidated house next door and moves in with John Amos, her servant. She wants to reclaim the grandchildren, especially Bart, an introspective young boy who collect bugs. He is indoctrinated in a narrow religious vein by John Amos who gives him his fanatical grandfather’s diary.

The two children discover their parents’ secret, and everything comes to a head when Cathy confronts Corinne and John Amos intervenes, setting fire to a barn, but Chris rescues Cathy, while Corinne dies. Bart is still sinister and ready for the next episode.

1. The novels of V.C. Andrews? Film version in the 1980s? The four films made television?

2. Television film, treatment of serious subjects, the family, marriage, children, adult, seduction, incest? Dark secrets?

3. Locations, the town, home, school, ballet class, the hospital? The old house, dilapidated renewed? Barns and attics? atmospheric score?

4. Continuity with the previous chapters of the story? Chris The background, in the attic, love for each other, then marriage? Jory and his ballet dancing father? Cathy’s seduction of Corinne’s husband? The happy family, the years passing, preserving secrets? The little girl, Cindy,wanting to adopt her?

5. Bart, his being bullied at school, Jory and his support, Jory and his relationship with Melodie? The situation at home?

6. The visits to the old house, Bart and his wound from the nail, its festering, inflamed, his having to go to hospital?

7. Corinne, buying the house, John Amos as her servant, the lavish reconstruction, Bart and his visit, her being nice to him, his returning, the gift of the python, the gift of the bow and arrow? The effect of him, John Amos telling him about his ancestor, Malcolm, the righteous quotes, giving him the diary, instilling a religious and puritanical attitude into him, sins and the Devil’s Spawn? The visualising of Malcolm’s diary, mad and fanatic? John Amos quoting the grandmother’s religious attitudes?

8. Bart, his age, behaviour, introspective, collection of bugs, his wanting a python, wanting a bow and arrow? Watching Jory with Melodie in the attic, seeing his mother and father and their sexual activity, his reaction? Later criticising Jory and holding it against him?

9. The decision for adoption, the girl’s mother dying, the family, Cathy and her delight, Bart and but his trying to drown the girl?

10. His going to hospital? The tests? Psychiatrist? The medication, suspecting schizophrenia? His personality, questions about Malcolm? His saying that Malcolm had gone, his return home

11. Jory, telling Melodie the truth? Her being unable to accept the truth and her later apology?

12. The ballet classes, the little girls, the recital, Corinne appearing, Cathy her fall from the stage, the injuries?

13. The arrival of marisha, grandmother, dominating, blackmail Chris? Wanting to take Jory? The confrontation and her being sent away the snobbish attitude towards Emily and her place in the house?

14. Bart, practising with his bow and arrow, John’s denunciations the issues about his real father about his mother and Corinne’s husband?

15. John Amos, denouncing Corinne, Cathy and the confrontation with her mother, some reconciliation, John Amos’ attack, hitting and imprisoning them?

16. Chris, able to save Cathy, watching the fire, Corinne screaming?


17. Jory, reconciled with his parents, understand from Melodie – except for the sinister look from Bart?

WHO AM I - KEIN SYSTEM IST SICHER

Germany, 2014, 103 minutes, Colour.
Tom Schilling, Elyas M'Barek, Wotan Wilke Mohring, Antoine Monot Jr, Trine Dyrholm.
Directed by Baran bo Odar.

WHO AM I (on screen and thematically correct as WHOAMI) is a contemporary German film, an interpretation of the phenomenon of hacking in the 21st century. It has been made by film-makers in their 20s and 30s, produced for that age group and its response, especially knowledge of Internet technology and hacking skills, a thriller for a technological age.

The film as well and persuasively made, carrying the audience along with its characters and plot, with the addition of a constant throbbing beat score.

The film opens dramatically with the central character, Benjamin (Tom Schilling) discovering his friends dead and his giving himself up to the government and submitting to an interrogation. This is conducted by Hannah, a government official, played by the Danish actress Trine Dyrhom. Benjamin seems something of a pathetic young man, bowed and somewhat distraught as he begins to answer the questions. What has happened to him is presented in vivid flashbacks.

Benjamin was considered invisible when he was at school, thought of as a freak, which meant that he spent a lot of his time in his room, a computer-nerd, but developing skills for hacking, which are tested when he infiltrates the University exam site on behalf of Marie, whom he has always liked, but has ignored him.

He also explains how he came into contact with three men, also skilled in computer technology, who are impressed by his work and taking him on as part of their team. They are particularly interested in an anonymous virtual person, MRX, who is visualised in a virtual room, masked, with his dialogue printed out in box form. The group try some hacking and Benjamin is successful, wanting to prove himself to his friends, and adopting some of their lifestyle, drinking and the use of cocaine.

When they become more adventurous, they decide to go physically into a government building, penetrate its technology rooms and files and steal information. Benjamin stays back and discovers more information which he does not tell the others about. There are all kinds of repercussions when a hacker is murdered in the woods and is revealed as a government agent. Then Russian government is involved, perhaps MRX being an agent for them.

Benjamin becomes even more daring, infiltrating buildings in The Hague while the conference is going on, only to return back to the apartment which we saw at the beginning with his friends murdered.

At this stage of a review, the reviewer can only say that there are quite a number of twists in the final part of the film, giving more depth to the title of the film, playing with the character of Benjamin and what is going on in his mind and the response to him by his interrogator.

Younger audiences will probably relish this thriller and its dramatisation of hacking. A similar film, Blackhat, directed by Michael Mann, did not have the good reviews expected nor the distribution expected, it being considered, perhaps, too intricate and involved for mainstream audiences. This may be the case with Who Am I, but it is fast-paced and intriguing.

1. The title, WHOAMI, hackers and hacking, secrecy, identities and codenames? The twists on the meaning of Who Am I?


2. The Berlin setting, the city, the views, homes, the University, the streets, clubs? The throbbing beat score?

3. Issues of hacking in the 20th century, 21st century, the sophistication of the hackers, young in age, knowledge of computers, their skills, targets, issues of privacy, hacking into government sites, international?

4. Codenames, the meanings, for individuals, for groups, the teams?

5. Benjamin, young, the opening and his finding his dead colleagues, surrendering to the government? The interrogation, his story? The insertion of the flashbacks?

6. Hanna, in charge of the interrogation, her attitude, listening, the questions, her own situation, the authorities, wanting to suspend her, the need for her to resolve the situation, maintain her job? Working with her colleagues?

7. Benjamin and his story, as a young boy, his mother and her illness, his saying he was invisible, thought of as a freak? His attitude towards Marie, her not noticing him? At home, his room, his computer, hacking, his name, the supervising doctor him? Marie and her request, his hacking successfully the exam questions? Talking with Marie, her boyfriend and his clashing and attacks?

8. The encounter with Max, Max as a type? Paul and Stephen and their particular skills? As a team, Benjamin wanting to prove himself? The character of MRX, the character appearing in virtual rooms, masked face, images, captioned dialogue?

9. Benjamin’s life, with his friends, the drinking, the cocaine, the effect? Benjamin still wanting to prove himself to himself, to Marie?

10. The hacking, the success, the admiration of his friends?

11. Going online, MRX, the reported death of Krypton? The international repercussions?

12. The mystery, the decision to go into the government offices, the masks, the ability to get inside, codes and doors, downloading the material? Benjamin staying back, noticing more information, the memory stick? The repercussions, especially internationally, with Russia, governments, and MRX?

13. The information about Russia, the scenes in the virtual rooms?

14. The visit to The Hague, international issues, Benjamin and his getting into the building, saying that he had lost his wallet, persuading the guard, setting up the connection under the table?

15. Finding his colleagues dead, his reaction?

16. The interview with Hannah, his admitting a lot of the truth? His hacking and finding the young man in New York City as MRX? True or Benjamin setting him up?

17. Hannah and her solving the case, willing to let him go? His request for witness protection? His mental state, the interview with the doctor about the issues of schizophrenia, multiple personality, his mother, his saying he did not want to be like his mother?

18. The symbolism of the picture, the mirror and its reflecting Benjamin’s back rather than his face?

19. His being let go, on the boat, dyeing his hair, with his three friends, alive, with Marie?

20. His setting up the fictitious story and all of them escaping? How real? How much in his mind?

CANADIAN PACIFIC

US, 1949, 95 minutes, Colour.
Randolph Scott, Jane Wyatt, J.. Carrol Naish, Victor Jory, Nancy Olson, Robert Barratt.
Directed by Edwin L.Marin.

This is a film about the building of the Canadian Pacific Railroad, crossing Canada from east to west. The initial difficulties are hinted at the beginning, the men on strike, the need for pay, the politicians discussing the feasibility of the project, the presence of the builder, Van Horne.

Randolph Scott, in one of the several films he made in 1949, a number of them with this director Edwin L.Marin, six of his final films were Randolph Scott Westerns before he died in 1952, portrays a surveyor, a western hero. two romances, one with Nancy Olson who was introduced in this film playing a country girl and with Jane Wyatt as a doctor working for the railway. Victor Jory, who had worked with Randolph Scott in the same year in Fighting Man of the Plains (not as a villain) is a baddie here.

The scenic photography is quite impressive, giving some indication of the difficulties for building the railroad.

In 1950, the film Broken Arrow with Jeff Chandler and James Stewart heralded a big change in attitude towards Native American Indians who were generally seen as the enemy and as inferior. This pervades much of the screenplay here – although, with hope, there is a brokering of peace at the end.

1. A picture of the Canadian Pacific rail and its building, difficulties, attacks? A fictitious story?

2. Colour photography, the Rockies, natural beauty? Action sequences? Musical score?

3. The boardroom, the difficulties in building the railway, possibilities of secession from British Columbia, the presence of Van Horne?

4. The role of Tom Andrews, surveying, exploring, being shot at? The hostility of Rourke towards the railway? Andrews and his meeting with Van Horne, the discussions, the surveyor’s map, his wanting to leave, his being employed? His work at the site, with the men, their respecting him? Progress? Difficulties?

5. His being attacked by Rourke’s men, the injuries, the initial encounter with Edith, as a doctor, her dislike of his using guns, getting to know him, his deeper self, tending his wounds? Romance? Her urging him not to take up his guns?

6. Cecile, the attraction towards Tom, life with her father, his siding with Rourke? Upset with his relationship with Edith? Her words to the Indians, siding with them? changing her mind, riding to warn Tom, participating in the siege, shooting, with Edith?

7. Edith, the doctors, working for the Canadian Pacific, the hospital carriage? The initial dislike of Tom, getting to know him, falling in love, urging a pacifist stance, the disappointment with Tom picking up his guns, the shootings, a commitment to nursing? Her not wanting him to confront the men, the Indians? The disappointment, consistency of principles, riding away at the end?

8. Rourke, his reasons for being against the railway, his colleagues, the violence, the meetings with the Indians, staring them up? The attack on the train? Setting the signal on fire, confronting Tom? The fire falling on him? Cecile’s father and his change of heart, joining Tom?

9. Dynamite, his work on the trains, friendship with Tom, his riding to warn the railroad? The confrontation with the Indians, their smoking the dynamite? The superior attitudes towards the Indians?

10. Van Horne, in real life, his ambitions, building the railway, achievement?

11. The presence of the priest, missionaries in Canada, his friendship with Tom, with the railroad, his presence at the end, the siege, and mediating peace
with the Indians?

12. A film of 1949, attitudes towards Native American Indians, belittling them, calling them treacherous, the episode with the dynamite and smoking? Some kind of reconciliation at the end?

TRASH

UK/Brazil, 2014, 114 minutes, Colour.
Wagner Moura, Rickson Tevez, Eduardo Luis, Gabriel Weinstein, Selton Mello, Martin Sheen, Rooney Mara.
Directed by Stephen Daldrey.


Trash has several meanings in this film. First of all, there is the literal huge mountain of garbage, filmed in its trash ugliness, and filled with so many people, adults and children, rummaging through the rubbish to see what they can find. It is into this rubbish that a significant wallet is tossed leading to a surprising change in the lives of three of the boy’s who live in the favela.

Another significant meaning for trash is that society considers the people who live in the favela as human trash. This is a film that says they are not

While the story is Brazilian, the film is a co-production between the UK and Brazil. The screenplay, written by Richard Curtis, a surprising choice because he is well known for Blackadder, Mr Bean, Four Weddings, Love Actually, who brings an outsider’s view to the situations as well as drawing an audience right into the situations. And the director is British Stephen Daldrey, whose reputation was enhanced by Billy Elliot, The Hours and The Reader.


At the centre of the film are three young boys, who had not acted before but their performances are so authentic that they are completely persuasive. One is Raphael, the boy who finds the wallet mysteriously thrown into the trash, who proves himself a boy of integrity, trying to do what is right, strongly believe in God, who puts himself into all kinds of dangerous circumstances, taken by the police, tortured by being bounced around the car boot and threatened with death, but following through on his mission to discover the truth about the contents of the wallet that he has found. His best friend is Gardo, a tough egg of a boy, outgoing, daring, always with a trick up his sleeve in awkward situations. The third boy has Rat as his nickname, a shrewd little boy who can do a deal with anyone.

This review has emphasised the role of the boys, but it is in a political context of Brazilian corruption: a wealthy man who is candidate for mayor but who has taken bribes from many companies, hiding the cash at his home, along with his accounts book. We are also introduced to José Angelo, a mysterious man who is arrested, tortured and killed – not before he has thrown his wallet into the garbage truck. More emerges about him as the film goes on, his association with the candidate, his taking the bribe money, hiding it while trying to get a letter to a lawyer in prison for justice stances who has Bible which can interpret the code to indicate where the money has been hidden.

The film is set in this part of Rio, the depressing shacks, despite videogames and access to the Internet, the poverty of boys, their seeming to have no family, the filthy water in which they swim, and the dirt of the trash.mountain.

One aspect to emphasise is that the film has a strong Catholic background, part of the inherited culture, with a sense of faith and devotion and ability of the boys to pray. Rooney Mara portrays a volunteer who teaches the boys in the local presbytery. And there is Martin Sheen once again playing a priest, older and a touch more grizzled liking a drink, the local hierarchy threatening to transfer him, but his wanting to stay with the people, angry at corruption, fighting for justice, especially when there are refugees flocking to him from the shacks which had been set alight by the police.

Trash has a great deal of realism about it, the actual poverty, the role of the police, police corruption, crowded prisons, political deals, the film also serves has something of a favourable happy ending. It is a moral fable showing that there is a blessing for those who do the right thing.



1. The story from Brazil, UK, the parallel is, the world of the wealthy, the world of the pool, world and the political question

2. British production, collaboration with Brazil? Adaptation of a novel, Richard Curtis’s as screenwriter, the British director?

3. Familiar images from Rio beaches, the mountains? The contrast with the favelas, in detail, the rubbish mountain, shacks, the putrid water, the presbytery, the town, the streets and buildings?

4. Trash mountain, the people considered as trash? The wallet thrown into the trash? the search?

5. Jose, his story, the revelations throughout the film, his being the first assistant to the mayoral candidate? His secrecy, in the cemetery, his daughter’s grave, in the apartment, the attack, torture? Flashbacks? The messages with his voice? His daughter, the Gardiner telling the boys the story of Jose taking $10 million, taking the money from the safe, the accounts book, garbage bags, the fridge to his apartment? The money in the coffin? The contents of the wallet, photo, the code, the key?

6. Raphael at the opening, his being urged to shoot, introducing boys, the making of the video by Olivia and the excerpts throughout the film?

7. The wallet, Raphael finding it? Showing it to Gardo, taking the cash, see the documents and the key, his decision to keep them? Raphael’s interest doing the right thing?

8. Raphael and Gardo, Rato, in the tunnel, his connections? Doing deals with people, payments?

9. Santos, wanting to be mayor, meeting with officials, the donations, the cash, his accounts book? The police and the investigator, police corruption? The
police and the trash, the local connection and his new league with the police, offering the reward? Interrogations, Raphael and Gardo? Under suspicion?

10. The contents of the wallet, the key, travelling into the city, the train, the pursuit, the railway station, Gardo pretending to assault someone divert police attention?

11. Raphael, his being taken, torture in the boot of the car, not giving information, the investigator urging to kill him? The refusal? Raphael getting back home? Fr Juilliard and his being woken up in the night, the confrontation with the police?

12. Getting the letter from the station? The information about the prison? Persuading Olivia to go? Gardo to pretend the lawyer was his grandfather, lining up, the bribe, the lawyer and his disbelief, Gardo and his memorising of the letter and reciting it? Information about the Bible and the code? The Bible? Marco and the bribe? Gardo getting the Bible, stabbing Marco’s head, flight? The previous discussions and making the plan, everything going wrong, not running, not throwing the Bible? The pursuit of the police, the room on the upper storey with the code, the chapter and verses of the Bible the numbers, Raphael realising that the numbers were a phone number, escape on the motorbikes, the phone call, the cemetery?

13. Going to the cemetery, Raphael finding the grave, The investigator finding them, his going, opening the grave, discovery the bags and the book, the phone call from Santos? The investigator intended to steal the? The little girl, suddenly appearing, Jose’s daughter, waiting for her father? Her hitting the investigator on the head? Raphael with the gun, his not shooting the investigator?

14. The character of Fr Juilliard, Martin Sheen, American background, anti-corruption, pro-justice, the Bishop visiting and wanting to transfer him? His friendship with people, with Olivia, the burning of the shacks, the refugees coming to the presbytery, his helping them? The boys taking the money, happily returning it ? A sympathetic picture of missionary work? Olivia, volunteer, in the compound, teaching the boys English, the pictures? Her agreeing to go to prison, hearing the details, her being arrested, later released?

15. The boys and the money, keeping some, going to the top of the mountain, throwing all the money for the people?

16. The ride, the memory of the beaches, fishing, happiness? (Too easy an ending?)

17. The film as a portrait of life in the favela? A moral fable?

SUNDAY

New Zealand, 2014, 71 minutes, Colour.
Dustin Clare, Camille Keenan.
Directed by Michelle Joy Lloyd.


Sunday is a small and modest film coming from New Zealand.

It is really a two-hander, played by Dustin Clare and Camille Keenan. The action takes place over 24 hours.

Eve goes to the airport to meet Charlie, who is away most of the year driving army vehicles in war zones. Eve wants to tell Charlie that she is pregnant and that she would like him to stay at home. The drama focuses on her longing for some kind settled life, the preparation for giving birth, her love for Charlie and her sometimes-desperation with him and his attitudes. The drama also focuses on Charlie, his personality, fairly macho, sometimes sensitive, but enjoying his work and his commitment to it.

The setting of the film is Christchurch, after the destruction by the earthquakes. As Eve and Charlie move about the city, visiting the cathedral to talk about a wedding, going for a cup of coffee, playing outdoor chess, going to the water and remembering the lyrical times they had which you have seen during the credits, they continually pass by buildings which have collapsed and other signs of destruction as well as the beginnings of building again.

Sometimes the mood is serious, sometimes humorous – especially when they are at home and there is a knock on the door and a very awkward rap-greeting singer arrives to deliver a message; they discuss baby's names (even Sunday) and whether it is a boy or a girl.

Many audiences will identify with the two characters, the dilemmas, their problems, their hopes – and the uncertainty when employment clashes with settling at home. Some of the dialogue shows great sensitivity and challenges the audience to consider where they stand emotionally and in objective judging of what they think ought to happen.


1. A small film? From New Zealand? The focus on Christchurch?

2. Christchurch, the city, the aftermath of the earthquakes, the ordinary aspects, the strong spirit, the ruins, the cathedral? Ordinary situations, punting on the river, the giant chess pieces, the cafes? The lookout and Christchurch at night? The musical score?

3. The credits, the range of flashbacks, introduction to Charlie, to Eve, their love, the later flashbacks throughout the film, highlighting the love, the relationship, the water, holding each other, the jump together? the enigmatic picture of the bursts of fire?

4. Eve, pregnant, going to the airport, her love for Charlie, greeting him? His short time with her? Driving the trucks in convoys in war situations? His going away, so much of the year? Her character, his character, strong man, long hair, the love, his macho attitudes, even to love? The child to be a girl – and the discussion of calling her Sunday?

5. The action taking place over 24 hours, the tension in Eve, the conversations, the walk, the trainer and Charlie accusing him of being gay? His hostility – and the story about the toothbrush and his weeing over it? His stating that the vessel was not a gondola but a punt? Going on the river, Eve saying she had met someone else? His stripping, getting out of the boat, confronting her? Why was Eve telling him? Some manipulation? Walking through the city, the Catholic cathedral, the information about the baptism?

6. Eve being left alone, pregnant, her moods, going to the toyshop, the machine for the milk and Charlie’s not understanding, it seems would have to get work? Her expectations, his expectations?

7. The comedy of the rap-o-gram, the lyrics, Eve’s reaction, Charlie’s embarrassment, the awkwardness of the singer, his lurching away??

8. Playing the chess, her easily winning? The cafe, the drinks? Comfortable with each other?

9. The intimate scenes together, Charlie lying on her, talking to the baby, discovering it was a boy, his imagining kicking the football with him? Going up to the lookout, the conversation overlooking Christchurch?

10. Next day, the effect of the time on each of them, at the airport, the farewell, Charlie looking back, Eve looking with hope?

11. The open ending – and what the audience was wanting, and what the audience thought would happen?

PIRATES OF THE CARIBBEAN: DEAD MAN'S CHEST

US, 2006, 151 minutes,.
Johnny Depp, Keira Knightley, Orlando Bloom, Jack Davenport, Bill Nighy, Jonathan Pryce, Lee Arenberg, Mackenzie Crook, Kevin Mc Nally, Stellan Skarsgaard, Tom Hollander, Naomie Harris.
Directed by Gore Verbinski.


In the early decades of the 20th century, Douglas Fairbanks Sr and Douglas Fairbanks Jr along with Errol Flynn cornered the market on pirates with Black Swans, Sinbad, Captain Blood. Robert Newton was both Long John Silver and Blackbeard. Tyrone Power and Burt Lancaster also had their chances. However, in recent times, it is said that pirate movies do not succeed at the box office. Roman Polanski's Pirates was a case in point as well as Cutthroat Island.

That may all be over now as the Pirates of the Caribbean sail on to our screens. Based loosely on the ride in Disneyland, the project has been written by the authors of Shrek, Aladdin and The Mark of Zorro and produced by the ace of big action shows, Jerry Bruckheimer. And audiences have enjoyed it.

Set in the early 18th century, it has all the popular ingredients of sea battles, abductions of heroines, sturdy fighting heroes, an array of cutlass-armed sailors and prissy British authorities. It has a new element in so far as the pirates are under a curse and cannot die until the blood of one of their colleagues is spilt on some gold medallions. This enables the special effects crew to have the pirates look normal until the moonlight shines on them and we see them as skeletons.

The surprise of the first film is Johnny Depp as the laissez faire Captain Jack Sparrow whose ship has been stolen by Borbosa. He escapes the island where he has been marooned and steps into all kinds of trouble in the port. Depp sports a made-up dreadlock style with a swaggering, slightly alcoholic accent, giving the wink to many of the old pirate conventions. He was so popular that this was the first of four sequels

Orlando Bloom (Legolas in The Lord of the Rings) is the blacksmith hero and Keira Knightly quite a feisty heroine with Jonathan Pryce as the governor, her father.

It is quite long but enough going on and the performances good enough to keep us attentive.

It’s probably best to say first that this sequel to the popular Pirates of the Caribbean runs for two and a half hours. In a cinema foyer recently I overheard two little boys (6 and 8 or thereabouts) standing by the giant poster for the film telling their father that they wanted to see Captain Jack Sparrow. It looks as though Jack Sparrow is a cinema icon for old and very young alike. But, at 151 minutes, parents need to be warned that concentration might not hold up and there may be need for toilet breaks.

Having got the practical advice out of the way, we can say that this episode of the Caribbean adventures is a jolly and rollicking show with some grim bits scattered throughout – which again may be a bit much for the littlies. Though, when you come to think of it, Robert Louis Stevenson was no slouch at including grim bits in one of the most popular books and films about pirates, Treasure Island. Long John Silver was certainly no saint.

The popularity and huge box-office returns of the 2003 original were a bit of a surprise. Johnny Depp had proven that he could do all kinds of roles from the eccentric fantasy of Edward Scissorhands to his undercover agent, Donnie Brasco. But, his creation of the more than slightly barmy Captain Jack Sparrow, two-timing, mincing, over-literate, coward and hero won him Golden Globe and Oscar nominations. (He also explained that he modelled his performance on Keith Richards who has been persuaded to appear in the third episode as Jack’s father.)

So, it is welcome back, Captain Jack. Johnny Depp gives the role all he’s got. While he is glad to get his ship, The Black Pearl, back, he runs foul of some bloodthirsty natives who think he is a god. Unfortunately for him, he also wants a key that will open the Dead Man’s Chest which contains the heart of Davy Jones who, with his crew, is condemned to sail the seven seas for a hundred years like The Flying Dutchman. In case that wasn’t enough plot, the screenwriters have thrown in the giant sea squid, the Kraken, which rises out of the depths to swallow ships – and Captain Jack.

As well, there is the interrupted wedding of William and Elizabeth (Orlando Bloom and Keira Knightly, who are much more famous than in 2003) and their arrest for aiding Jack in his escape. Imprisoned by the loathsome head of the East India Company (a more than suitably sneering Tom Hollander), they are due for execution unless William finds the key and the chest. During his search he discovers his father, a victim sailor on Davy Jones’ ship (Stellan Skarsgaard) who is prepared to gamble his life for eternity if William can escape. Add to that the fate of Elizabeth’s father, a Voodoo seer and pirate attacks on trading ships and you have plot galore.

Just as Geoffrey Rush was the sinister Captain Barossa in the first film, a supernaturally-challenged blend of ghost and human with his deadly crew, so now Bill Nighy is the spectral Davy Jones – with an octopus sprouting from his chin, but more than handy for him to play the organ. His deadly ship and barnacled crew are part of the expert make-up for the film. The sets and costumes are also first class as are the special effects.

Pirates reaches a climax with the disappearance of Jack Sparrow and the resurrection of Captain Barossa, so this review has to be inconclusive. It is a ‘to be continued…’ as the third film was made along with the second and is in post-production for May 2007!

1. The popularity of the film? The origins in the Disney theme park? The developing franchise? The plot of the first film, continued? The characters developed?

2. The appeal of pirates, colourful, the Caribbean, characters and action, ships and treasure, rogues and outlaws, the law and the navy? Davy Jones and his ship? The Kraken?

3. The production values, the cast, the length of the film? Locations and the islands, the sea? Action and stunts? Special effects, the skeleton crew, the fights? The musical score?

5. Pirates and their reputation, the attitude of the governor, of Beckett Cutler, of Norrington, now disgraced and looking for a berth? Jack, Elizabeth, William? William and Elizabeth in love? Cutler and imprisonment? Threat of hanging?

6. The governor, his civil role, love for his daughter, in the town, the encounters with Jack? His hopes, the ships and his consent? Cutler taking over, sneering, condemning Will and Elizabeth? His mission for Will to get Jack’s compass – and Davy Jones’ heart?

7. Britain, the governors, the role of the pirates, treasure? Characters, Davy Jones and superstitions?

8. Cutler Beckett, the governor, the type, British, arrogance, sneering? His attitude towards Jack Sparrow? Towards Will and Elizabeth? Imprisonment, the possibility of hanging? His mission for Will, Jack Sparrow’s compass, for the chest, for Davy Jones’s heart?

9. Will, his personality, the mission, sailing, the encounter with Jack, the adventures? Elisabeth and her stowing away?

10. Jack Sparrow, his debt to Davy Jones, Davy Jones sailing the seas for 100 years? Ghost? His octopus appearance? Jack and his sailing, on the island, the cannibals? On his mission, the compass?

11. The ships, the adventures, the storms, the Kraken, monstrous, the attack?

12. Jack and Will, the sword fight, on the waterwheel?

13. Rigetti, Pintel, their talk, their comments? Gibbs and his role?

14. The introduction of Bootstrap Bill, the pirate, his past, the fact that he was Will’s father?

15. The voodoo, Tia Delua, her influence and presence?

16. Norrington, his place in the past film, disgraced, wanting to get a billet on the ship?

17. The final confrontation, Davy Jones, the Kraken, the heart?

18. And audiences looking forward to new adventures?

DEFIANCE


US, 2008, 137 Minutes, Colour.
Daniel Craig, Leiv Screiber, Jamie Bell, Alexa Davalos, Alan Corduner, Mark Feuerstein, Jodhi May, Iben Hjelje, George McKay?, Jacek Koman, Mia Wasikowska, Mark Margolis.
Directed by Edward Zwick.

This is a story of actual events and characters during the early years of World War II in Belarus. It is based on a history of the Bielski brothers and their efforts to save several hundred Jewish survivors hiding in the woods.

While the film begins with familiar footage of Hitler's speeches and the rounding up of Jews in the villages in the countryside and the massacre of those who resisted, the film then focuses on the initially ragtag group who begin to depend on the Bielskis, hungry, needing shelter, ill, subject to German raids or attacks from the local collaborating police but managing to eke out survival, shelter and food. When the freezing winter sets in, the times are desperately hard.

However, they are captured by a squad of Russian soldiers who are fighting partizan battles. They join with them at first but, later, they opt to try to live in peace in the woods, although one of the brothers, pugnacious by temperament, joins the Russians despite some of their blatant antisemitism. The group survive despite everything and even build up something of an alternate town as the war goes on.

The film is emphatically Jewish in its screenplay, not just the Nazi persecution and the local betrayals but in a religious sense. A teacher becomes the de facto rabbi for the group, the teacher of the religious traditions and an officator at weddings. References to the Jewish scriptures build to some allegorical parallels to the Hebrews' experience in Egypt, plagues and oppression and a direct comparison with the exodus and the crossing of the Red Sea – making us realise that, whatever happened in reality under Moses' leadership, the Book of Exodus is telling symbolic morale-boosting stories that God helps his people, especially if they help themselves.

Director Edward Zwick has shown interest in a variety of war experiences over the last twenty years: the African Americans and the Civil War in Glory, Desert Storm in Courage Under Fire, the opening up of Japan in The Last Samurai. His cast is unusual. Daniel Craig as the firm but peace-hoping brother has more opportunity for subtle and varied performance than as James Bond. Liev Schreiber is the gung-ho brother and Jamie Bell is the younger brother emerging into adulthood. Allan Corduner is impressive as the wise teacher.

The film is not easy to watch and Jewish audiences may hold their breath at some moments. There is little black and white – except that the Nazis and the collaborators are villains. The Russians are ambiguous in their attitudes. But the screenplay has some shocking eye for an eye moments as revenge is wrought, especially a Jewish mob in lynch revenge mood, bashing and kicking an ambushed German soldier.

An interesting postscript indicates that the two older brothers survived the war, migrated to America and worked together in a trucking business for thirty years – and never claimed any credit for the defiance and leadership they exercised in the war years.

1. The title? Expectations? World War II?

2. The locations, Lithuania for Belarus, the 1940s, life in the village, the Jews in the village, gatherings, worship, the Rabbi, teachers, intellectuals? The forest?

3. Dramatisation and war action, guerilla warfare, stunt work and action?

4. A true story, starting in August 1941, the Nazi occupation of the northern countries, the oppression of the Jews?

5. The Bielski brothers, therefore, the characters, relationships? Polish background? The death of their parents? Fleeing into the forest? A war of vengeance?

6. The number of refugees coming into the forest, the Jews, banding together, exercising raids, the local farms, getting food, supplies? The police and collaboration? The arrest? Tuvia killing the policeman? The attack on the Germans?

7. The brothers and their leadership, Tuvia as the oldest and the leader, the clash with Zus? The issue of the Jews, the increasing number, hiding, the dangers for all? The dispute, Zus leaving, his own group, collaborating with the Soviet partisans? The agreement, protection, supplies?

8. The depiction of the severe winter? The Germans preparing for attack? The Soviet partisans not helping?

9. Asei, the small group, slowing down the oncoming Germans, the number of deaths? His survival, with Sofiya?

10. The move towards the marsh, crossing the marsh, few casualties? The Panzer tanks confronting them? Seeming destruction? Zus, attacking from the back?

11. The final credits, hiding in the forest for two years, building hospital, building a school? The photos of the actual characters? Information about them? The brothers going to the United States, the truck-building business? This film as a tribute to them and their work, saving Jews?

FORBIDDEN

US, 1953, 84 minutes, black and white.
Tony Curtis, Joanne Dru, Lyle Bettger.
Directed by Rudolph Mate.

Forbidden was made when Tony Curtis was emerging in popularity and starring in a number of films, musicals, fantasy, racing car dramas… This one is set in Macau, rather exotic although everything was done in Universal Studios. It has echoes of Casablanca and the film noir of the 1940s, a hero with a seedy background, femme fatale, an unscrupulous gangster. Joanne Dru is the leading lady and Lyle Bettger, always suavely sinister, is the gangster.

The film was directed by Rudolph Mate, the cinematographer, who directed Tony Curtis in The Prince Who was a Thief, The Rawhide Years, The Black Shield of Falworth.

One of the main features is the song which has remained an evergreen, You Belong to Me. (its lyrics were the basis for a Mary Higgins Clark thriller, You Belong to Me.)

1. A 1950s version of the film noir? Popular ingredients from other films?

2. The Macao setting, exotic touches but all made in the studio, the streets, hotels, clubs? Musical score?

3. The popular song, You Belong to Me, during the credits, sung during the film, as background theme?

4. The setup, Eddie and his voice-over, in Macao, sent by the gangsters to find Christine, her marriage, the breakup, the documents, her ability to expose the gangster? The men following Eddie to the hotel?

5. The club, saving Justin, the Chinese attack? Justin and his gratitude? Engaged to Christine? His welcoming Eddie, at the club, in the city?

6. Eddie with Christine, the past, the breakup, her marriage, yet still in love? The meetings, talk, reviving the romance? Deceiving Justin?

7. Justin, and his gangster activities, his empire, illegal imports? His manner, treatment of Christine, of Eddie? His henchmen, Sam? Confrontation by the Chinese, the murders, considered suicide?

8. Eddie, his friendship with the piano player, the piano player and his warnings, arranging for an escape?

9. Justin, the story of his leaving, his sudden return, confronting Eddie?

10. The planning of the escape, the man tailing Eddie confronting him, Eddie putting him off, Christine overhearing? Her reaction, the marriage to Justin, the ceremony, Eddie arriving, her talking with him? Justin and his anger, losing face?

11. Christine driving, the escape, going to the boat, stowing away, Justin and Sam, the pursuit, on the boat, the shooting, the bale falling on Sam, Eddie’s fight with Justin?

12. Sam crushed, shooting, starting explosion, the destruction of the boat? Eddie and Christine watching?

13. The official information, finding Christine’s documents, the condemnatory documents for the gangster in Philadelphia? The document that she was presumed dead? And a happy romantic ending?

THE RAWHIDE YEARS

US, 1955, 85 minutes, Colour.
Tony Curtis, Colin Miller, Arthur Kennedy, William Demarest, Peter Van Eyck.
Directed by Rudolph Mate.

The Rawhide Years is said to be the only western that Tony Curtis made. He portrays a young gambler, helping a seasoned gambler, but having second thoughts about people being robbed of their money. Pirates attack the riverboat where he works and his partner is lynched and there is a price on his head, though they were both innocent.

After working on a ranch for three years, he decides to go back to find his girlfriend, who sings on the riverboat. A genial drifter, played by Arthur Kennedy, tries to help him but they get into various tangles, doing a Butch Cassidy and Sundance Kid, jumping into a river, rescued by the riverboat, only to have a second pirate attack.

There are some dramatics, a possible lynching, shootouts.

The film was directed by Rudolph Mate, the cinematographer, who directed Tony Curtis in The Prince Who was a Thief, Forbidden, The Black Shield of Falworth.

1. An entertaining western of the 1950s? Star vehicle for Tony Curtis?

2. Colour photography, the river, the riverboat, the towns, the ranches, the mountains? The musical score?

3. The story of Ben Mathews? On the riverboat, young, partnering the gambler, his reaction to the old man losing all his money, the reaction of the Sheriff and warning, Ben giving the money, Comfort winning, returning the money, Matt Comfort and his being impressed, offering the job? The gambler, the parting of the ways with Ben?

4. The pirate attack, the robberies, the statue of the Indian taken, Ben being beaten, overboard, the lynch party with the gambler, Ben and Zoe, his escape?

5. Ben, the Rawhide years, his work, letters to Zoe, their stopping, taking his pay? The enquiries about travel? Rick, overhearing, stealing the horse, offering to be a guide, the posse pursuing him, diving into the water, the escape? Camping, Rick reading the letters, wanting the money? Their being picked up by the river boat, the captain and his welcome?

6. The second pirate attack, Ben and his intervention, the mask, planning to pursue the pirates? Rick and his covering him, as if in coma? His escape?

7. Going to see Brand Comfort, confessing about killing, discovering the statue, the fact that Brand was in league with Boucher? The attempt on Ben’s life, his return, the documents from the safe?

8. Boucher, managing riverboat, Zoe beholden to him, her performances? Helping Ben, having to turn on him when Boucher was present?

9. Rick, working for Boucher, coming to help Ben, the lynching party?

10. Ben, confronting Boucher, his trying to burn the documents, the fight, retrieving them, having Boucher at gunpoint, his being shot by his men, coming downstairs, the confession?

11. Ben vindicated, and happy ending with Zoe?

KILLERS

Indonesia, 2014, 137 minutes, Colour.
Kazuki Kitamura, Oka Antara.
Directed by the Mo Brothers, Kimo Stamboel, Rimo Tjahjanto.

Killers is a grim and sometimes very gruesome film. It is a Japanese- Indonesian production, with filming both in Tokyo and Jakarta.

There are two tracks in the film, a focus on a Japanese man who is seen initially engaging in sex with a young woman whom he then tortures and murders, filming his actions, and putting them on his website. The second focus is on an Indonesian man, a journalist, who has been trying to write an exposé of a corrupt and wealthy man, who want to enter into politics.

The journalist is separated from his wife but has his daughter sometimes to stay with him. He also logs onto the Japanese man’s torture and snuff movie site, becoming excited, and strongly influenced, so that he decides to take revenge on the would-be politician, especially after being mugged by a taxi driver and his associate, struggling with them, getting the gun and killing them. The journalist starts to communicate with the Japanese man, in chat rooms, and then face-to-face.

The film pursues the journalist’s story, his separation from his wife, his anger at her life, love for his daughter, his wife’s friend. He visits the wealthy man’s lawyer, confronts him, finds that he has an abducted girl in his house and sets him on fire, filming this and posting it. He then goes to a hotel, confronts the wealthy man’s son and shoots him, fighting his way, rather more forcefully than might be expected, out of the hotel.

In the meantime, the Japanese man has selected more victims, says he is influenced by the death of his sister, imagines her, picks up a prostitute and murders her pimp, is interested in a flower shop proprietor whom he sees trying to push her autistic brother into the path of a car. He is pleased to put material on his site and for the Indonesian man to respond.

Ultimately, the Japanese man goes too far but decides to visit Jakarta, kills the journalist’s wife and films it, confronts the journalist, the wealthy man and the journalist’s blindfold daughter on the top storey of an unfinished building.

The film will be to gruesome for many sensibilities, but it takes its audience into the world of obsessive Internet use, the posting of violent, even snuff, material, and the consequences for people’s psyche – making the film something of a moral fable.

1. An Indonesian- Japanese coproduction? Life in Japan? Life in Indonesia?

2. Japanese settings, the apartment, the torture chamber, the flower shop, the streets, the clubs, prostitution?

3. Indonesian settings, the more affluent Jakarta, homes and apartments, hotels? Public meetings, the courts, newspapers? The finale in the unfinished building?

4. The musical score, atmospheric, the use of the classics, especially in the finale?

5. The film’s comment on the Internet, sites without censorship, access for all, visual communications, across countries?

6. The killings, the visual brutality, the touches of violence pornography, the snuff movies and their appearing on the Internet?

7. The Japanese story: the young man, sex, his mask, his torture chamber, filming, the violence towards the woman, his casual attitude? Her death? His posting the film on the Internet? His website? The Indonesian man watching? The further victims? His story about the death of his sister, his closeness to her, his madness and motivations? His mother, the death of his father? The other killings, random, the old man who admitted killing his family, taxi drivers…? His picking up women? The prostitute, the swerve on the road, returning her, her pimp, his accusations, going to the club, the cocaine, confronting the pimp, killing him? The disposal of bodies, acid in baths? The confrontation with the prostitute, accosting her, putting her in the boot of the car, his being challenged by the police, his excuses, parking? His torturing the prostitute, filming? The Indonesian man watching him during the filming, his calling out to save the woman? The man and seeing the woman and her autistic brother on the street, the attempted killing? His return, buying flowers, being friendly with the young woman, her interest, hearing his story? Her shock and disdain? Her brother? The man giving the boy a taser, his accosting a student? The sister, coming to the house, accusing the man, his turning the tables and talking about her attempts at killing her brother? The fact that he had the prostitute in the house, getting free, her cries? The woman and her helping to rescue the prostitute, using the taser? The Indonesian man watching and its desperate effect on him?

8. The Indonesian story: the journalist, his investigation of the corruption case and the divorce of Dharma, the speech by Dharma’s lawyer to the media, excusing him? Dharma, corrupt, entering politics? The journalist and the separation from his wife, her finding another man, love for his daughter, taking her to school, her staying with him? His watching the snuff site? Communicating with the Japanese man, typing their messages, face-to-face? His being intrigued? His visits to his wife, the family, his being criticised by his father? his wife and her new friend, his violence towards him? The fights, his being picked up by Dhama’s men, fighting back? His decision for revenge? Going to the lawyer, discovering the young girl chained in the bath, the interrogation, setting him on fire? Filming it? Posting it on the Internet? The information about the hotel, accosting Dhama’s son, shooting him? The elaborate pursuit, the escape through the hotel, out into the street? The men picking him up, his falling asleep, their attempting to rob him, the gun, the fight, his shooting them and escape?

9. The Japanese man arriving in Jakarta, killing the journalist’s wife, filming it? Going to the top of the building, Dharma and his presence, wanting vengeance for his son’s death? The journalist’s blindfolded daughter? The confrontations, the arguments, the plan, the pleas for mercy?

10. Dharma, his violence, bargaining, wanting to keep the girl, to marry her? His being killed?

11. Japanese man, the bullets in the gun again, the threats to the daughter? The Indonesian man attacking him, locked in an embrace, their both falling off the high storey building?

12. An impressive thriller, the snuff movies, availability on the Internet, this kind of addiction? Madness in violence? Serial killers? Audience response to the visual brutality of the killings? The film taking a moral tone?