WUNDERKINDER

Germany, 2011
Gedeon Burkhard, Natalia Avelon.
Directed by Markus Rosenmuller.

Wunderkinder are child prodigies. The three children in this moving World War II drama are musically talented, two violinists and a pianist. They are around 12 years old.

The setting is a town in Ukraine. It is 1942. The population consists of Ukrainian traditional families as well as Jews. Two of the children are Jews. The other, who becomes friends with them, plays music with them, introduced by the local music teacher, herself Jewish. All seems to be calm despite the war. And that other girl is German, son of the local diplomatic representative who also owns the local brewery.

When German troops arrive, the purging of Jews begins. However, the three children are still in demand for performances. But, then, the German pact with Stalin broken, Russian troops arrive and situations are reversed. While the Jews are still cautious and have been sheltered in a country house by the benign German, it is the German family which now has to go into hiding. And, in a reverse of so many films where Jews are sheltered by sympathetic locals, it is now the German girl who is protected.

The film presents the possibilities of harmonious living but does not shirk the anti-Semitism which is quick to rise to the surface, the exercise of power by local officials (who then have to go into hiding when the politics change). However, it is the basic, common humanity which underlies this portrait of people who share values, who communicate by music. It is a sad story of childhood, with some tragic consequences.

Audiences will appreciate this different perspective on World War II, the experience of Ukraine, and the effect on children.

INFINITELY POLAR BEAR

US, 2014, 88 minutes, Colour.
Mark Ruffalo, Zoe Saldana, Imogene Wolodarsky, Ashley Aufderheide, Keir Dullea.
Directed by Maya Forbes.

On noticing this title in the list of films about to be released, I wondered what on earth this film could be about, almost expecting to find that was an animation film for a children’s audience. The word polar led to this conclusion.

On the other hand, the word polar is more regularly heard these days as part of bi-polar. And this is the subject of this film. It is based on a true story, the story of the father of the director, Maya Forbes drawing on her own experience as a child. And, in many ways, this is a look at a bi-polar condition from the point of view of the child, not a clinical exploration, but a dramatisation of the experience of living with such a father. What makes the film also interesting is the fact that the young girl in this film, representing the director, is actually played by the director’s daughter, Imogene Wolodarsky.

The setting is the past, the 70s the 80s, when diagnoses were more limited and medication for the condition was not extensive, lithium tablets being a regular prescription.

The father, Cameron, is played by Mark Ruffalo, a very good actor who is becoming quite versatile in his choice of roles over the years. He is a sympathetic presence, even when he is frustrating in his manic behaviour, even at times, without his medication, becoming quite threatening. He spends time in an institution, then in a halfway house, but unable to live with his wife and children as a family. This puts extraordinary pressure on his wife, played by Zoe Saldana, who has to be the breadwinner, although her husband comes from a fairly wealthy Boston family and the great-grandmother pays rent but is not willing to give too much money from her trust fund.

This means that the wife has to find a job but decides that she would be better able to cope and bring in income for the family if she went to New York to study for an MBA. She does and, for 18 months, Cameron has to be the parent for the children, living in an apartment, trying to cope with routines – and routines helping him to settle. He is also good working with his hands but, at times, the girls becoming too much for him (and sometimes too much for this reviewer, being rather petulant towards their father and insensitive to him despite knowing what he was suffering).

The main part of this rather short film focuses on those 18 months in Boston, an intriguing look at how Cameron tries to deal with the situation and, ultimately, comes through successfully.

Infinitely Polar Beer is not meant to be an accurate clinical portrayal of the bi-polar condition. Rather, it is a story which asks for empathy from the audience, appreciation and understanding of how difficult it is to live with the condition, mood swings, Cameron being prone to drinking, and at times trying to escape. But, it is an important part of his life and audiences will come to some understanding of bi-polar experience through sharing in a life rather than by analysis.

1. A film about mental illness? The bipolar condition? Manic depression? Alcoholism? Dramatising the condition? Insights?

2. Boston, the city, old wealth, poorer neighbourhoods? Holmes, apartments, institutions, the business world? The musical score?

3. 1978, knowledge of manic depression at this period? Medication? Lithium? The effect?

4. The director, some autobiographical experience? Her perspective? Her own daughter playing Amelia?

5. The introduction to Cam? The home-movies? His behaviour, clothes, his story, wealth, family background, Boston blueblood? Studies, being expelled? Meeting Maggie, marrying, the children? His breakdown? His coming to the car, in his briefs, in the cold, Maggie and the children, the year? The police taking him away?

6. Going to the institution, his getting out, the halfway house? Amelia’s visit? Taking him home?

7. The family in poverty, the great grandmother and her financial trust, hang the rent, the offer of the expensive car, Cam’s refusal, too expensive to run?

8. Maggie, as a person, devotion to her husband, difficulties in relating? The plan, to New York to 18 months, MBA, the decision to get a job, not welcoming Boston, black, mother of two children? Getting a job in New York, new arrangements?

9. The apartment, Cam and his daughters, care for them, routines and responsibility? His handling the situation, but prone to feel pressure? His skill in making and repairing things? Getting up, taking the children to school, cooking the meals? His exasperation with their behaviour and attitudes? Going out to friends, being locked out, his need for company? People’s reaction to him, the neighbour and his carrying the groceries, her closing the door, getting out of the lift?

10. The characters of the girls, their age, experience, limitations? Love for their mother? Relationship with their father? Often embarrassed by him? Going to the hard school and finding it difficult? The many occasions of petulance and anger? Going to the great grandmother, the issues of the car, repairing the old car? School? Tidying the house, Faith saying she wasn’t her father servant? His feeling like a servant? His making the flamenco skirt and her happiness?

11. Maggie, love, unable to stay, the sexual relationship with her husband? Her fears, going to New York, The MBA, coming for weekends, meeting the family, the free parking lot? The difficulties, the atmosphere, bonding with the girls, loyalty to Cam? Unable to go into his untidy and messy room?

12. The months passing, the seasons, changes, the development in each of the characters?

13. The children in the building, making friends, playing cards, basketball, Cam involved, the visit to the room, waiting till it was tidy, bonding with the children, the martial arts?

14. The effect on Cam, his sometimes desperation, going to the bar?

15. Maggie, the interviews, refusal, decision to stay New York?

16. One year later, the better school, the girls playing, wanting to be on their own, challenging their father, the waiting, farewell?

17. The perceptions of mental illness and behaviour seen more from the girls’ point of view than an adult point of view?

GREY GARDENS

US, 2009, 104 minutes, Colour.
Drew Barrymore, Jessica Lange, Jean Tripplehorn, Ken Howard, Kenneth Welsh, Arye Gross, Justin Louis, Daniel Baldwin, Malcolm Gets.
Directed by Michael Sucsy.

Grey Gardens is an excellent film made the television. Its subject is Edith and Little Edie Beale, recluses in the dilapidated mansion, Grey Gardens, on, Long Island in 1973. At that time, the Maysles Brothers who had been making documentaries with strong reputation requested permission to film mother and daughter and their home. They agreed and what resulted was in 1975 documentary, called Grey Gardens.

This film opens in 1973, eccentric daughter dancing for the cameras, the mother watching. The film is interspersed with flashbacks, going back to 1936, the social life of the Beale family, the connection with Bouvier family and with Jacqueline Kennedy. The father of the family, played by Ken Howard, is becoming exasperated with his wife, her social extravagance, but has ambitions for his daughter. Edith is played in an excellent performance by Jessica Lange, both in the earlier segments as well as in her old age segments. Drew Barrymore gives one of her best performances as Little Edie, eager to go to New York City, to become a singer, to perform, but held in check by her mother. Her father divorces his wife and marries again. In the 1950s, Little Edie goes back home and her relationship with her mother is one of co-dependence.

The film is an interesting piece of Americana, the connection with the Bouvier family and the Kennedys – including a sequence when Jacqueline comes to visit the two, remembering her past with them, appalled at the squalor in which they live and financing the cleaning and renovation of their home.

At the end, Little Edie does get to perform a little cabaret and is delighted at the film.

Note: to be watched in connection with the Maysles documentary of 1973, also called Grey Gardens, also featured on this website.

1. A piece of Americana? The Beale family, the Bouviers?

2. The Maysles brothers and their documentary filming? The film of Grey Gardens? Their appearance as characters, their filming?

3. The intercutting of the earlier decades with the filming in 1973? The effect of the contrast between Edith and Edie over the decades, the comparisons?

4. The 1930s and 1940s? New York society, Long Ireland? Wealthy families? The depression, the parties and fashions, shows and cabarets? Grey Gardens itself, the Hamptons? The music and songs?

5. The range of songs from the period, especially those of Jerome Kern? Edith singing? Edie singing and dancing?

6. Edith and her life, her marriage to Phelan, mother of three, her devotion to Edie, the singing, the friendship with Gould? Her husband and his secretary, their alienation from each other, his leaving, the allowance, his second marriage, that wife and her looking at the accounts, her sons growing up, her husband’s death, setting up the foundation? The condition of selling Grey Gardens? Her refusal? The intensity in her relationship with Gould, his love for her, but unable to stay with her, his packing and leaving? The relationship with Edie, her time in New York, the return home, her advice to Edie about the relationship with Cab? Her co-dependence with her daughter?

7. The transition to 1973, squalid living, the dirty house, the litter, the cats, the lack of money, mother and daughter dependent on each other? Edith and her memories of the past, becoming a reclusive character? Edie, still wanting to be a star? The news of Jacqueline Kennedy, the death of Kennedy? Their appearances, clothes?

8. The arrival of the Maysles Brothers, their careers, their films, changing from the documentary on Jacqueline Kennedy to the Beatles? The details of their filming sequences, mother and daughter agree to appear?

9. The passing of the decades, Edith and Grey Gardens, unable to move away? Shutting the doors? Life and survival? The arrival of the inspectors? The house and the smell, health risk, ban?

10. Headlines, Jacqueline Kennedy’s relatives living in poverty, Jackie’s visit, the discussions, the flashbacks to her relationship with Edie in the past, the holidays at the beach, the decision to help, paying for the cleaning of the house and reconstruction?

11. Edie, character, the nervous condition, the loss of hair, her clothes and covering her head? The recurrence of the hair problem during the decades? Singing, dancing, wanting to perform, yet afraid of her debut, running away? Her father and his demands, love for him, his urging her to marry? Going to New York, his wanting to get her an ordinary job, her modelling, the meeting with Cab, the affair, the gift of the coat, the phone calls, her mother knowing, his breaking with her? Confronting the entrepreneur, her performance, wanting an audition? Her return home, cat food, the melted ice cream, her staying at home?

12. Staying at home, mother and daughter getting used to that life, ageing, few contacts, the boys coming and Edith being hurt, refusing to sell the house? Edie excited to move, the disappointment?

13. The insight into the two women, that life, as captured by the Maysels in the film?

14. Edith refusing going to the Premier, her terse response to the reporters? Not wanting to go? Eddie deciding to go, in the spotlight, her delight, and her final performance in a cabaret?

15. The further information about the two? And the success of the film?

THE LONGEST RIDE

US, 2015, 128 minutes, Colour.
Britt Robertson, Scott Eastwood, Alan Alda, Oona Chaplin, Lolita Davidovich,
Directed by George Tilman Jr.

What could be better than having one Nicholas Sparks’ story in a film? The answer is: having two Nicholas Sparks’ story in the one film. And that is what happens here.

Once again we are in Nicholas Sparks country, the state of North Carolina. We remember Message in a Bottle, The Notebook, Dear John, The Last Song, Night in Rodanthe. However, this time we are in from the Atlantic coast, at a college campus and at a centre for bull-riding (it is explained to us that this is not, not, a rodeo).

The second story is set in New England, and begins in 1940, shown in a series of flashbacks throughout the film. While younger audiences would be caught up in the romance in the present, older audiences would identify with the older couple and be moved by their lives in the stories from the past.

The focus of any Nicholas Sparks’ story is the romance. Sophia is a student, an art student, with a scholarship from New Jersey to the North Carolina campus. She has the prospect of an internment with an art dealer in New York City when she graduates. She is dragged, rather unwillingly, by her roommate to go to the bull-riding when she sees Luke, whom we have already seen as a champion with ambitions to top the international list of riders but who has had a serious accident. She picks up his hat – and the sparkle begins. Luke is very much the southern gentleman with manners to match and is handsome and charming. Though she knows she is returning north, she agrees to go out with him and they have a riverside picnic. So far, a potential for a sad story of separation.

On their way home, they see an accident and rescue an elderly man from a burning car. Sophia is asked to go back to the car to rescue a box. When she goes to the hospital to bring the box, she begins to read one of the letters and so begin the flashbacks to 1940, his letters written to the love of his life, later his fiancee, then his wife. The old man (whose age by arithmetic should be at least 90) is played as a bit of a curmudgeon but with charm by Alan Alda.

Sophia is played by Britt Robertson who handles her role very pleasantly. Lucas played by Scott Eastwood, yes, his son – and from some angles he definitely looks like his father, and at many moments he sounds like his father. This is the kind of role that Clint Eastwood might have played at this age of 28, but he was starring in Rawhide and the Spaghetti Westerns was still to come.

It seems to be going nicely, Sophia in love, Luke in love, taking her home to meet his mother (Lolita Davidovich) and she bringing him to an art exhibition which he does not understand at all.

In this, they are mirroring the older story, where Ira (Jack Huston, grandson and John Huston) works in a local store, enlists in World War II, is injured and returned home. Jewish, he is intrigued by refugees from Austria, especially the daughter, Ruth (Oona Chaplin, granddaughter of Charlie Chaplin and daughter Geraldine), a lively young woman who has a great appreciation of art.

Sophia returns to the hospital to read his letters to Ira, filling up the background story, their marriage, their inability to have children, Ruth’s desperation at not having a family, her coaching a young boy – with a later happy piece of information to cheer both Ira and Ruth).

The Longest Ride, by the way, refers to living with art rather than the eight seconds required for success on the bull.
Needless to say, there is a clash, the romance seems to be falling to pieces. But, something wonderful happens to them to do with Ruth’s huge collection of art pieces over the years and her eye for successful artists. You will have to see the film to find out what happens – but the happy ending (as if we did not know) actually goes beyond happy…

1. The popularity of novels by Nicholas Sparks? Film versions? The North Carolina settings? The world of the rugged? The world of the artistic?

2. The title, its reference to living with art and collecting it rather than the eight seconds for staying on the back of the bull?

3. Two stories within one, the linking and connections, one story mirroring the other?

4. North Carolina, the towns, the College, the ranch, the lakes? The venue for bull riding? The campus? The hospital? Homes? Audiences identifying with each story and characters?

5. The focus on Sophia, her story, age, Polish background, the cafe in New Jersey, her mother and the cooking, getting the scholarship, studying art, the prospective internship in New York, a bright future?

6. Luke, his father and his death of a heart attack, his mother and her not wanting him to ride bulls? The ranch, his going to see his mother, their discussions? His manager, the rivals, his success, his fall and injury, the year passing, the risk to his health, his being determined, the eight seconds, going up the rungs of the championship, getting to the top?

7. The girls at the campus, persuading Sophia to go to see the bulls, getting Luke’s hat, wearing it, their meeting, the invitation to go out, the date and the phone call, his visit to the sorority, the picnic by the river, their talking, the rain, her going to New York, his being a gentleman of the South?

8. Driving, seeing the accident, saving Ira, his wanting Sophia to get the box? Taking him to hospital? Sophia staying, opening the box, starting to read the letters, going to see him, his being a curmudgeon, her reading the letters, persuading him to eat, being less cranky with the nursing staff? The continued visits, her continued reading of the letters?

9. The insertion of Ira’s story, letters, reminiscences? Ira in 1940, his age, work in his father’s shop, seeing Ruth, his shyness, the meetings at the synagogue, the importance of the Jewish background, Sabbath? Going to the diner with the rose, seeing her with the young man, breaking the rose, her seeing this? Her determination, his joining up, upset, a future marriage? In action, the war scenes, his injury, the doctors, his inability to have children? Ruth and her desire to have children? Then marriage, the passing of the years? His work in the store, her teaching? The episode with Daniel, his guardians, their neglect, Ruth doing the coaching, his having meals at the house, part of the family, his transformation? Going back to the family, then not seeing him again? The later visit of his wife, finding the photo of Ira and Ruth, his inscription, love for them, appreciation? The effect on Ira and Ruth? The college, the paintings, collecting the paintings, positioning them in the house, Ira and his ignorance about art? The years? Ruth saying she found that she was dead inside, her leaving? Ira and his sadness? Her return? The sad scene of his finding her dead? The strength of the two characters?

10. The effect on Sophia, being moved, her own art interests? Luke and his not having an interest in art? The invitation to go to the auction? The manager from New York, her manner, relying on Sophia with the clients, Luke and his watching her, his bemusement? Talking with the manager, his joke, Sophia being upset? The break between the two?

11. Luke, his determination, the further rides, the discussions with his mother? His mother and her liking for Sophia, urging him to keep following her?

12. Luke, the injuries, his determination to ride, his success? The aftermath, his achievement but realising it was not the full goal for his life?

13. Sophia, her work, the phone call, Iris death? The invitation to go to the auction? Luke and his receiving the letter, the invitation to the auction?

14. The huge amount of paintings, Ruth’s collection? The lawyer and his contacts with Sophia? The letter from Ira, his tribute to Ruth? The first painting, the portrait of Ruth, the first bid, going lower, Luke’s arrival, his buying the painting? His being drawn aside? Ira’s stipulation, the whole collection to go to the bidder on his wife’s painting?

15. Sophia, her love for Luke, the decision to create the gallery, dedication to Ira and Ruth, the management of the gallery, his management of the ranch – so much more than happy ending?

SARAH’S KEY (ELLE S’APPELLE SARAH)

France, 2010, 111 minutes, Colour.
Kristin Scott Thomas, Melusine Mayance, Niels Arestrup, Frederic Pierrot, Michel Duchaussoy, Aidan Quinn.
Directed by Gilles Paquet- Brenner.

This is a very fine and moving film.

For the first half of the film, Sarah is a strong-minded young girl. However, she is caught up in a European situation beyond her control. In the second half of the film, she is not seen on screen but is a strong presence as the audience explores the mystery of her adult life.

The European situation is, of course, World War II. Sarah (Melusine Mayance in a strong performance) is Jewish. She lives with her parents and younger brother, Michel, in the Jewish quarter of Paris. As the film opens (after a tender credits sequence with Sarah playing with her little brother), the French police (rather than the Gestapo) are rounding up French Jews and moving them to the Paris Velodrom nearby. They are kept in squalid, unhygienic conditions with little to eat or drink and with hastily packed suitcases. Before long, the adults and older children are sent to the railway stations to be transported to the camps.

While we have seen these situations on screen before (recently in Gainsbourg), the immediacy of the filming here, the handheld cameras immersing the audience so strongly into the middle of the crowds means that it is more vivid and harrowing than in many of the other films.

But, that is only the beginning. The title refers to the key that Sarah used to hide Michel in a cupboard to avoid detection. She had told him to stay there until she comes for him. This weighs so heavily on her and on her parents that she becomes more and more desperate.

The film is also set in the early 2000s. A French family are moving into the home of the husband’s parents in Paris, renovating it. The wife is American and a journalist. When pictures of the 1942 experience of the Jews come up at the office and the very young writers know nothing about these events, she sets out to investigate, which leads to the awareness that Sarah’s house is the house of her family. What did they know at the time, since they moved in soon after the rounding up of the Jews?

This raises the issue of the complicity of the French in the treatment of the Jews, the Vichy authorities and the police. The film offers an opportunity to acknowledge what happened and a speech of Jacques Chirac is included in the narrative.

There is a whole lot more to the film. The review so far refers only to the first part, so readers will appreciate just how much there is in the film.

As the plot develops, we intercut between the 1940s and the 2000s, eventually looking at the 1950s and 1960s as well.

A sympathetic French policeman helps Sarah (after initially standing on her foot when she tried to get her key, later allowing her to retrieve an apple thrown over the camp fence by sympathetic local women). Without revealing too much of the plot, one can say that she encounters an elderly French couple who refuse to help at first but then make her part of their family – and she is able to return to the room with the key. Niels Arestrup (the prison boss in The Prophet) brings the dilemmas of the ordinary French people under the occupation emotionally to life.

Kristin Scott Thomas plays Julia, the journalist who is searching for the truth of what happened in the home and what happened to Sarah. It is one of Scott Thomas’ best and most emotional performances. She can embody coolness and detachment perfectly in many films, so it is moving to see her in this role. Her quest takes her to the US and to Italy and encounter with a middle-aged man, played by Aidan Quinn.

The story that she uncovers has much joy but also much sadness, as has her own story and the repercussions for her marriage, her husband not understanding while her in-laws relish the opportunity to open up what happened in the past and appreciate that there was honour amongst the dishonour in the war years.

The film is based on a novel by Tatiana de Rosnay.

1. The impact of the film? World War II, friends, the Jews, the roundup in Paris? The contemporary story, the search? The interconnection?

2. The re-creation of Paris, 1942, the district, the apartments, the brutality of the roundup, the women and children, the neighbours and their betrayal, hostile calls from observers? The situation in the velodrome, the stands, the children not allowed on the track? The squalor in the velodrome, no toilets, no water, the stench? The young woman, taking off the star, pretending to be ill, the nurse, getting out? The transition to the camps, the separation of men and women, holding back of the younger children, boarding the trains? The French police, hostility, some kindness? The countryside, the village?

3. The contemporary story, Paris, 2009? The family apartment, the decision to move in? Julia and her attitude? The daughter? The attitude of her husband, the family, his growing up there? His parents living there are so long? Julia and her work on the magazine? Her pregnancy, the discussions about the abortion, the going to the clinic, her decision not to have the abortion? The phone calls to her husband, the restaurant, their first meeting place his not welcoming the pregnancy, his reasons? The visit to China? Julia and her visit to New York? Returning? The visit to Florence?

4. The title, the opening and the two children playing, Sarah and Michel? The experience of the roundup, love for her mother, persuading Michel to hide in a cupboard, locking him in, taking the key, the police search, the lies? Her anguish, her desperation in wanting to return? In the camp, the kindly policeman with the apple? Her plan to escape, the other girl, the timing, under the wire, the policeman helping? Running through the woods, in the town, the old man refusing entry, cold light, his finding the girls, taking them in, the older girl dying of diphtheria, the local doctor, the police? Sarah staying with the family, the mother and her love? Disguising Sarah as a boy, on the train, going to the house, the opening of the door, the dead boy? The family adopting Sarah, her growing up, the work, the love for the old man? Mr Tezac and his paying the money each month, her decision to leave? The later card about marrying in the US?

5. Julia, the focus, American, the sister (and her putting on make-up when they talked of the serious matters)? The marriage, her busy husband, the issue of the pregnancy and his attitude, after so many attempts to have a child, the disbelief that her husband would ask her for an abortion? The effect of the dinner? Her daughter, the discussions? The plans to move into the apartment?

6. The work in the office, with the editor, her skills as a journalist, the young people, their ignorance of the past? Investigation, writing of the article, their praise? Julius declarations about the importance of knowing the past?

7. Julia’s fascination with the apartment, its history, her in-laws family, the date of the family moving into the apartment, 1942, enquiries about the previous residents, the old man with the records, no mention of Sarah, her not being deported? Her father-in-law, his telling her the story, the flashbacks, the grandfather being present as a boy when Sarah came back, his wife not knowing the truth? Telling his son? His son’s reaction? Julia finding the documents about the giving of the money, ringing to reassure her father-in-law?

8. The contact with the daughter of the adopting parents of Sarah, giving information, the issues of the US? Julia going to America, checking the various possibilities with the name? Finding the mother and daughter, the discussions, learning more about Sarah, her husband? Going to Italy to see the son?

9. Meeting William, friendly, her telling the story, showing William the photo of his mother as a little girl, Jewish, his dismay, complete denial, believing she was lying? Not wanting to see her again? His going to see his father, his love for his father, his father’s health, the father deciding to tell the truth, giving the documents, William trying to cope? The flashbacks to Sarah’s past, the club, the encounter with her husband, the years, driving, the visualising of her death?

10. The passing of years, Julia’s daughter missing Paris, wanting to go back, the sky, session with her father, seeing his girlfriend? Her bond with her mother?

11. Julia, in New York, the sister, the baby, wheeling her? William and his making contact, his coming to terms with the situation, his mother, the truth about her depression, suicide? Julia calling her daughter Sarah, William’s reaction? His discovery of the family in France?

12. A powerful telling of the past and its continued significance in the 21st century?

POSTMAN PAT: THE MOVIE

UK, 2014, 88 minutes, Colour.
Voices of: Stephen Mangan, Roman Keating, Jim Broadbent, Robin Atkin Downes, Susan Duerden, Rupert Grint, David Tennant, Peter Woodward.
Directed by Mike Disa.


Postman Pat has been very popular the decadence on British television and beyond. It catered for the release littlies. Unfortunately, this movie length presentation of Postman Pat does not engage the littlies except in a few of the light scenes with Pat delivering the mail, rescuing the sheep from trees, being genial to everyone. And Jess the cat, accompanying Pat, is also a great attraction.

However, the screenplay of the film seems to be catering more to the older children and to the adults. While Pat is very good, a loving husband and father, and diligent in collecting and delivering the mail, a good word for and with everyone, the delivery company has one of those humourless, intense officials who wants to robot ties the delivery of the mail. And then he would take over the company (voiced by Peter Woodward). Is busy about firing everyone, let alone not giving them any bonus. Pat was relying on this to take his wife on a honeymoon trip to Italy, which she instantly likes, buys brochures, does Italian cooking – with a bad Italian chef moustache. Pat Sun also wants him to kick the football with him before or weekend.

When Pat sees that there or is a reality television competition, Your the One, which has a prize of a trip to Italy, he goes along, thinking there would be few people there, to sing the love song for his wife. The place is crowded and the compere, Simon Cowell Bell (a very amusing satire for adults on compared Simon Carlisle and his attitudes and remarks) finds that Pat should go into the finals. There had been a previous episode where a young boy who preferred playing computer games, to the upset of his agent, is also in the finals.

In the meantime, robots of Postman Pat have been doing the rounds in the town of Greendale, getting a lot of complaints. Eventually, one of the workers realises that all the Pats are robots, including one who has been drafted into singing in the competition, with the sinister official acting as a kind of ventriloquist. There is also a robot cat for Jess.

When the townspeople realise what has happened, and Pat’s wife has realise that the official was trying to put her off for pats happiness, everyone goes to the reality show where the robot is performing. Pat gets out of a locked room, and in company with Jess, is pursued by the robots who all crash into each other, with Pat going on stage, singing, applauded by the townspeople, with love from his wife and son, and the prospect of a trip to Italy.

Capital one of those bright animation films, or bright colours, which, eventually, parents might enjoy with the issues of technology, labour problems, hire and fire, reality shows and their style, which will go over the head of the initially intended audience.

THREE KINGS

US, 1999, 114 minutes, Colour.
George Clooney, Mark Wahlburg, Ice Cube, Spike Jonze, Cliff Curtis, Nora Dunn, Jamie Kennedy, Said Tahjmaoui, Mykelti Williamson, Holt Mc Callany, Judy Greer.
Directed by David O.Russell.

Three Kings is a tongue-in-cheek story of the first Gulf War, a view of American soldiers, their very American approach to life which contrasts with those in Kuwait and in Iraq, showing some of their mercenary approach, especially when they hear of gold that can be taken, but, ultimately, showing some innate humanity.

The film was written and directed by David O.Russell, who was to make a number of offbeat films including I Heart Huckabees and, particularly, The Silver Linings Playbook and American Hustle.

By this time, George Clooney had moved from television to becoming a star in film, with Mark Wahlberg more at the beginning of his stardom. Of interest, one of the other major American characters is played by writer Spike Jonze, best known for Being John Malkovich, Adaptation, Her (as well is his strong association with the Jackass television program and movies and his character in Gloria).

In many ways the film is rather prophetic, being released four years before the American invasion of Iraq in 2003 – presaging some of the behaviour of the American troops, of locals, of insurgents as well as of victims and refugees.

The film starts with some humour – and that continues throughout the film especially with authority figures, but becomes more serious with the refugees and the humanitarian demands.

1. A film of the 1990s? Looking back at the Gulf War, the seven years perspective on 1991?

2. The film seen in the light of the 2003 invasion of Iraq, the occupation of Iraq, American military over the years in that country?

3. 1990, Kuwait, Iraq, the invasion, the threats, President Bush, Saddam Hussein, the Kuwait military action, the ceasefire, the oil fields on fire, gold from Iraq?

4. Kuwait, Iraq, the locations, the desert? The bunkers? The military outposts? The songs and the musical score?

5. Refugees, pursued by Saddam Hussein and the Iraqis? The Iraqi military? Refugees?

6. The M*A*S*H tone, satiric, the change to the serious, the blend of both, the tone of the 1990s?

7. The work of the director, the screenplay, his career, his satiric edge over many years?

8. The American military, the introduction, the central characters and their explanations? Gates and his sexual encounter with the journalist?

9. The emphasis on the Gulf War being a media war, the importance of interviews, public relations, embedded journalists, their fears and fearlessness, the producers, camera operator, embedded with the troops? Filming the events? The observing – and later use for enquiries? And capturing the absurd?

10. Finding the map in the prisoner’s anus? The information, deciphering it? The decision to go to the gold? Getting rid of Adriana? The motivations, her being taken on “trip”? The irony of being captured, gunpoint, the soldier and his being stripped, her being recognised for her television work?

11. The expedition, the three men with Gates? Troy, his role in the army, going on leave, his wife at home, the baby, the phone call to her, the visualising of the glimpses of American life? Chief, his orderly work, his future? Conrad, eccentric, gung-ho, guns and shooting? Gates, his background, personality, not afraid of authority?

12. The expedition itself, driving, desert, the bunkers, the people inside, the troops, the refugees? The locations? The Iraqi military? The ceasefire? Those supporting the Americans, finding the gold, finding the fleet of cars and using them?

13. The confrontations with the Iraqis? The military leader and his shooting the wife of the refugee leader? His personality, his deal with Gates?

14. The battles, the Iraqis, Captain Said, his Americanisms in language, taking Troy, torturing him? The answers, the dialogue?

15. The attack of the helicopters, the shooting, the military in refugees being hit? Conrad, his injuries, his death?

16. Troy, the Americans, the information, the phone call from Troy’s wife, the officers and their reaction to Gates and his crew, their behaviour? The arrival, Gates and his plea for the refugees, finally persuading them? The refugees being saved?

17. The picture US military forces in the Middle East?

18. The aftermath, Troy and his carpet business, with his wife and children? Chief and his going to work with Gates? Gates as a military adviser – in Hollywood?

19. This film in retrospect, after the 2003 invasion of Iraq?

ODD THOMAS

US, 2013, 97 minutes,. Colour.
Anton Yelchin, Willing Dafoe, Addison Timlin, Kyle Mc Keever, Nico Tortorella, Gugu Mbatha- Raw.
Directed by Stephen Sommers.

Odd Thomas is based on the popular northern by thriller-horror writer, Dean Koontz. Quite a number of his novels were adapted in the 1990s and in the following years, but they tended to be small budget and average kinds of films. This one is a bit more upmarket but still had limited release.

Anton Yelchin plays Odd, a strange character in an isolated town. While he works locally, it soon appears that he has powers beyond the normal, having a sense of death impending, seeing strange creatures who congregate around potential victims. He acts on his powers, his sense of what has happened in crimes and murders, and collaborates with the police chief, Willem Dafoe who is his friend. His girlfriend, Stormy, works in the local mall, a bright and breezy character who loves Odd, knows what is happening, continually supports him, warning him against dangers.

There is a strange character in the town, Fungus Bob, Odd pursues him and finds that he has a file on serial killers. When there are further killings and the seemingly friendly police deputies act with strange behaviour, and the malevolent creatures are seen in greater force, Odd realises that some rather apocalyptic disaster is approaching. There is to be a mass shooting in the mall. Odd uses his wits and with bombs and a truck, he saves the day.

The director is Stephen Sommers whose films included The Mummy, The Mummy Returns, Van Helsing.

1. Interest in Odd Thomas, character, powers, crime and solutions?

2. The work of Dean Koontz, adaptation?

3. The title? Odd, Oddball? His parents? His age, appearance, his work, his love for Stormy?

4. The revelation of his powers, seeing Penny when she was dead, her being mute, his pursuing the car, the driver, the murderer, his apprehension?

5. The character of the Chief, liking Odd, communication, allowing him to use his powers? Personal interest and friendship, the arrests? The deputies, their work? The chief being shot, in hospital, his being saved by the metal heart given him by Odd? The comic encounter with the maker of the heart, his character and repartee?

6. The creatures, visible, ethereal, fluid, malevolent? Hovering of the people, portending deaths? Pretending that he could not see them? Their not being deceived, leading him on? With Fungus Bob?

7. The flirting girl, with, the flashbacks of her death, her being found, her appearance when she was dead, warning Odd? Her being killed by Kevin, his seeming innocence, his later appearance, part of the cult?

8. Fungus Bob, his behaviour, his hair, in the shops, in the streets, going to his house? Odd discovering the serial killer files? His appearances, Odd going home, finding his body in the bath, taking it away, the disposal, in the plant, the police, the smell?

9. Viola, The girls, dreaming, explaining to Odd? The creatures around her, at home, getting her to rest? The threat, getting her to leave? In the shopping mall, his wanting her to go?

10. The apocalyptic plan?

11. Odd, his investigations, the phone calls to Stormy, the dangers, her having conversations with customers and with Odd? The chief being shot, Odd going to the house, going to the hospital?

12. The deputy, the challenge? No creatures seen? The second deputy, seemingly friendly, his work, unmasked, his shooting the Chief? Their plan, the cult, the thrill killers when they were young? Wanting to be heroes of the mall and rescuing people?

13. Viola, the security, the threat to the mall, the machine guns, shootings?

14. Odd, his search, finding the truck, the fear of the driver, driving the truck away, the deputy pursuing, hanging onto the side of the truck, crash, the time limit, the explosion?

15. Odd, his being saved, the hospital, the crowds outside to acclaim him? Chief and his recovery, telling him that it was time to go?

16. Stormy, her breezy character, knowing the truth, devotion to Odd, her work in the mall, the shootings, her being with Odd? The realisation that she was dead, mute, her farewell?

17. Odd going to Las Vegas, a new sense of mission?

IN THE BEDROOM

US, 2001, 130 minutes, Colour.
Tom Wilkinson, Sissy Spacek, Nick Stahl Marisa Tomei, William Mapother, William Wise, Celia Weston, Karen Allen.
Directed by Todd Field.

This is a film that needs discussion. It has emerged as one of the top contenders for US awards for 2001. In fact, Sissy Spacek has won several Best Actress awards already. Prominent and popular US critic, Roger Ebert (who is a Catholic), has given it his two thumbs up rating (which means excellent). I found it both difficult and challenging.

The film is not what the title might seem to indicate. This is a film about a mother and father in their 50s whose son is callously murdered. It is about their response to such a shocking and saddening experience in their lives.

Perhaps the best way to communicate the difficulty with the film is to describe my own experience of watching it. I saw it last August at the Montreal Film Festival where it was screening in competition. In fact, it won the International Critics' Award.

For most of the film, I thought it would be a strong contender for the Ecumenical Award, made by a jury that comprised three Catholics representing the International Catholic Cinema Organisation and three from Interfilm, the Protestant Organisation for juries at cinema festivals. The film started well, a portrait of a decent American couple and their relationship with their son who was studying to be an architect but who was living with a single mother and being a loving father figure to her child. The cast is top drawer with Sissy Spacek as the mother and British actor, Tom Wilkinson, as the father. The son is played with sensitivity by Nick Stahl and Marisa Tomei is the single mother. In the Bedroom is a low-budget independent film written and directed by former actor, Todd Field.

So far, so good. The killing is jolting for the audience as well as for the characters. What follows is a picture of how death affects people differently. The father is a genial man who grieves. The mother closes up, hardening herself against the hurt of what has happened and raging interiorly over the murder and the subsequent callous behaviour of the killer. Spacek and Wilkinson share some powerful scenes of grief, anger and the possibilities of forgiveness. By this stage of the film, most of our jurors were thinking that this was certain to be a prizewinner.

But then the film changes and follows the lead of so many American films where the law seems not only impotent but is seen to fail those it should be supporting with justice. It shows the strong drive to take the law into one's own hands and wreak personal justice on the perpetrator of the crime. But is this justice or seething revenge? And the question rises as to whether the film is just portraying people who turn to violence for justice or is actually advocating it? Hence, our not listing In the Bedroom for our award.

I saw the film before September 11th. Are the American audiences looking at it in the aftermath of those acts of violence? Whatever the stance of the film, it certainly raises serious issues in an emotionally confronting way.


1. Acclaim for the film? Critical? One of the main films of 2001?

2. The Maine/US town, homes and school, doctors surgery, the wharves, the courts? The countryside – day and night? The musical score?

3. The title, in reference to Frank and Natalie, to Strout and Natalie, to Ruth and Matt? The end, Ruth and her calm and getting coffee, Matt and his sleeplessness, open eyes? Moral perspective?

4. The introduction to Frank and Natalie, happy, lyrical, in love, the boys? Strout and his background? His coming to the party, Frank happy, Natalie and Ruth and their discussion in the kitchen, Strout arriving, with the boys, Frank and Natalie, at home in the middle of the day, lunch with Matt? The fight, Frank hurt, his father tending him, not calling the police? The buildup to the confrontation, the trashing of the house, Nick shot? Natalie saying she witnessed it?

5. Matt and Ruth, the years of marriage, Ruth very strong, her comments, her control, with Natalie in the kitchen, at the party, midnight talk with Frank about his interview? Conducting the choir? The contrast with Matt, pleasant, as a doctor, with patients, going to the wharf, liking to be with Frank, his friends, the barbecue, eyes on Natalie, his letting Frank be, with Natalie’s boys and fishing?

6. The death, the news, the different reactions? Ruth tough, yet her deep grief? Matt and his wandering, going to work, on Saturdays, with his friend, at the wharf, drinking and Ruth’s disapproval? The tensions and memories of planning? Ruth at the supermarket, seeing Strout? The lack of conversation between husband and wife?

7. The lawyer, going to court, Natalie as a poor witness, Strout out on bail, Matt and his meeting with the lawyer, the discussions, talking to Strout’s friends, trying to get more information for a stronger sentence?

8. Ruth, her choir, their performance and people’s response? Natalie approaching her, Ruth slapping her? Matt going to the shop, Natalie saying she was sorry?

9. Ruth and Matt with their friends, the discussions, the wife and her grandchildren, Ruth’s response? The husband, the justice issue, plans?

10. Matt and the confrontation, his blunt speaking about Ruth and her control, criticising her son? Her criticising Matt for not showing any feelings, whether he had any feelings? The mutual apology?

11. This experience, stirring Matt, getting the gun, finding Strout, getting him to pack, the drive, his lies, shooting him? The friend, digging the grave, returning in the early hours, held up at the bridge?

12. Matt arriving home, Ruth in bed, calm, offering to get coffee, Matt lying down, turning away, not sleeping, his eyes? Guilt and responsibility?

13. Themes of justice, the law, vengeance and its effect?

14. The picture of a family, a tragedy, the feelings with the impact of such a murder, the consequences?

RETURN TO ME

US, 2000, 115 minutes, Colour.
David Duchovny, Minnie Driver, Carrol O' Connor, Robert Loggia, Bonnie Hunt, David Alan Grier, Joely Richardson, Eddie Jones, James Belushi, Marianne Muellerleile.
Directed by Bonnie Hunt.

Return to Me is a film of great appeal, especially for those who enjoy not only romantic films but also family comedies.

The film was co-written and directed by Bonnie Hunt who takes one of the central roles as the sister of Grace, Minnie Driver, who has a heart transplant. The audience has already seen the happy couple, Bob and Elizabeth, she being a trainer of gorillas, teaching sign language, he a designer for buildings. They have been to a social with an appeal for donations for the zoo project and she is killed in an accident on the way home. Grace receives her heart.

After a year of convalescence, with Grace reluctant to date because of her scar, she encounters Bob by chance at the restaurant owned by her grandfather and managed by an interesting group of Italians and Irish, the older group enjoying playingcards together and arguing who has the better singers, the Italians or the Irish!

Bob and Grace are attracted to each other but she discovers the letter she wrote to the family of the transplant in Bob’s house. Ultimately, they accept each other and there is happy ending.

The supporting cast is very good with Carol O’ Connor as the Irish grandfather, Robert Loggia as the Italian cook, Bonnie Hunt as the sister and James Belushi as her rough husband.

On paper, this one is very sentimental, but in the film it all works very well.

1. The appeal of the film? Love, sentiment? A family? Scenes of death?

2. The focus on the transplant, Elizabeth, the accident, her death, Grace waiting for the transplant, the heart arriving, the surgery, the care?

3. Chicago settings, the city, skylines, homes, the zoo, high-rise buildings? The restaurant, garden? The building sites? The final touches of Italy, especially of Rome? The musical score? The range of songs – Italian and Irish?

4. Bob and Elizabeth, the training the gorilla, the sign language, the touch of hands, communication – and later for Grace with her hand? The social, the appeal, her speech, the donors, Charlie and his being used to get rid of the boring donors? The dance, the sudden cutting to blood, Elizabeth’s death off-screen?

5. Bob, his grief, alone, dedicating himself to his work, his friendship with Charlie, his outburst against the officials and their delay for the building, working with his co-workers?

6. Not socialising, Charlie and his invitation, Bob reluctantly going, Marsha and her laugh, criticisms and complaints, the water and her actually drinking tap water? The phone calls and his decision to leave? His seeing Grace with the water, giving him the meal? Losing his phone?

7. His return call, going back, late, the cooks and staff, playing cards, discovering Grace, her pyjamas and shower cap, the garden and the flowers, inviting her to a date and her eagerly saying yes?

8. The introduction to Grace, in the hospital, Megan being with her, her grandfather’s visit, the operation, success, convalescence, in the garden, painting? A year passing? Her writing the letter to the family of the donor? Difficulties in posting it, Megan urging her? At the zoo with Megan and with the children?

9. Megan and Joe, married, rough, love, arguing, bringing up the kids, the issue of swearing and language, outings, with Grace?

10. Grandfather, friendship with Angelo, Eddie, Walter, Sophie? Well-drawn characters? Their interactions? Italian and Irish? The cooking, the serving, Grace doing the waiting? Playing cards, arguments about Bing Crosby and Irish singers, Frank Sinatra and Italians?

11. Bob and Grace, going out, at the bowling alley, his being inept, Charlie arriving, shocked, Bob and Grace together, his touching her, her slapping automatically, reconciling, the kiss?

12. Grace, self-conscious, not telling anyone about the operation? Love for Bob? His house, discovering the letter? The date knowing she had Elizabeth’s heart? Leaving, Bob puzzling?

13. Bob discovering the truth, his reactions, needing time?

14. Joe, Grace weeping, becoming angry, willing to threaten Bob, then supporting him?

15. The decision for Grace to go to Italy, her grandfather buying tickets, the scenery and Italy, her inability to paint, talking to the waiter, telling his story, going to Rome – and the humour of the nuns with the bike?

16. Bob, sitting on the back of the bike behind the gun, the invitation to the dedication?

17. The dedication ceremony, the words about Elizabeth, the gorilla and his new habitat? His sense of her presence?

18. The reconciliation, the joke with the scene at the wedding, audiences expecting Bob and Grace but rather Walter and Sophie?

19. Ordinary people, their lives, insights, humour, death, sadness, love and hope?