REDFERN NOW

Australia, 2015, 90 minutes, Colour.
Deborah Mailman, Wayne Blair, Rarriwuy Hick, Lisa Flanagan, Anthony Hayes, Danniella Farinacci, Tiriel Mora.
Directed by Rachel Perkins.

Redfern Now was an experiment for Australian television, a series about urban aborigines in central Sydney, Redfern, with aboriginal actors, writers and directors, including veterinary Rachel Perkins has directed this television film based on the series. It stars two fine aboriginal actors, Deborah Mailman, excellent in this film as a single mother, bringing up children, doing cleaning work for cash in hand and being brutally raped and Wayne Blair, director of The Sapphires, also with Deborah Mailman, plays the father of a young woman was raped and is a local police officer. Also in the cast is Anthony Hayes as the rapist. Rarriwuy Hick plays the daughter.

The film is quite graphic in its presentation of sexual violence against women, and dramatises the different responses, the daughter who does not want anybody to know, destroys the evidence and gets her father to keep it secret. On the other hand, there is the mother who is very strong, takes the mobile phone from the pocket of the rapist and is able to offer it in evidence, gives a clear explanation of what had happened, is attacked in the courtroom as being a fraud because of getting cash deals which she says she will repay. And Anthony Hayes, a versatile actor, is brutal in the rape sequences and is a picture of innocence as he describes himself as a victim in the court scenes.

The film offers a lot of local colour, is also an opportunity for a white Australian audience – and beyond – to see something of aboriginal life in the cities. It is also a strong contribution to films about sexual violence against women, the experience of rape and its, and the role of the courts.

1. The popularity of the television series, breakthrough drama, aboriginal themes, characters, performance, urban aboriginal stories, conflicts and resolutions?

2. Redfern, the streets, homes, police station, courts? Redfern and the look? The musical score?

3. The girls at King’s Cross, taxis refusing them, walking home, the dark, the emergence of the rapist, his threats, choking Robyn, fleeing?

4. The effect on Robyn, quiet, Dad watching television, talk, having the shower, burning the clothes, destroying the evidence, wanting everything secret? Aaron and his not reporting, safeguarding her as a father? Going to see Allie, coming to the house, telling her daughter? Warning Aaron? The clashes? Robyn going to the medical centre, the lectures by the doctor about safe sex, Robyn’s angry outburst about being raped?

5. Lorraine, her work, cleaning, cash in hand, less than promised? The children and support? The drunken husband? Her kicking him out? Walking home, the rape, the dark, her reaction, resistance, taking the rapist’s phoning, calling her children, calling the police? Going home, the effect on her daughter?

6. Aaron, policeman, his work, cars and patrol, his silent partner, Lorraine and the personal impact, tracing the phone, arriving at the rapist’s house, arresting him? His wife and children?

7. Hopkins, his age, marriage, accountant, his family, his brutal attack on both Robyn and Lorraine?

8. Lorraine, her determination, the police, giving a clear account? The medical attention? Talking to Robyn, Robyn giving information, Lorraine guessing what had happened?

9. The trial, Aaron and Robyn going? The defendant? The prosecution, accusing Lorraine of fraud, of being a liar? Lorraine and her defence, claiming she was honest, supporting her family, paying back? The judge and his interventions for her? The aggression of the prosecutor?

10. Lorraine’s husband, turning up again, her hitting him, her love for him, minding the children?

11. Robyn going to the court, unable to stay, leaving, waiting?

12. Aaron and Allie, the clashes, the confrontation, the proposal, the refusal, the final acceptance and her suggestion?

13. Hopkins, his story, the lies, putting himself in a plausible light and as an innocent? Confessing the sexual encounter, but in being repentant, accusing Lorraine of approaching hinm?

14. Lorraine, walking home, Robyn waiting, the guilty verdict, their embrace?

15. Aboriginal themes in characters, contemporary, society?

16. Themes of women, violent men, rape, the effect of sexual violence? Greater audience awareness?

THE GIRL WHO PLAYED WITH FIRE

Sweden, 2009, 129 minutes, Colour.
Michael Nyqvist, Noomi Rapace Lena Endre, Peter Andersson, Yasmine Garbi, Per Oscarsson.
Directed by Daniel Alfredson.


Over a year in the life of Lisbeth Salander (Noomi Rapace) has gone by when we take up her story in this sequel to The Girl With the Dragon Tattoo. She is now back from her travels and trying to get her life in order. That is not to be. However, by the end of the film – and this should please and interest those who have not read the novels (and there are probably a few, including this reviewer – we learn the full story and background to Lisbeth’s tormented life).

Her lawyer-parole officer assaulted her sexually, and quite graphically, in the first film. This sequence is repeated in part and becomes a key issue for the narrative now.

There are two strands of plot which are interwoven. On the one hand, Michael Blomqvist (Michael Nyqvist) is working again for his magazine, Millennium, and two researchers are preparing an expose of trafficking in women in Sweden, names of criminals as well as the women’s clients/exploiters. As might be expected, this is a risky undertaking and murders follow. It would appear, on some evidence, that Lisbeth Salander is responsible. The police believe this and investigate accordingly. Michael does not and pursues his own search for Lisbeth who has disappeared (in disguise – and giving us the opportunity to see what she looks like without the punk nose rings...)

The other strand is Lisbeth’s own search for documents about her past, especially about her father. We have seen her setting him alight in the first film and this one opens with that scene. However, the denouement is not what she expected.

Along the way, her friend, Miriam, with whom she has a sexual relationship and Paolo Roberto (Paolo playing himself), a boxer friend, are set upon by a giant bruiser who works violently for the unseen criminals.

In many ways, this is tough stuff, as was the first film, filmed with a Scandinavian serious and sometimes-intensity that makes it different from the many American versions of crime and police investigations (and American versions are under way). While this film comes to a conclusion, it is clear that it must also be continued (and according to the cast list of The Girl Who Kicked the Hornet’s Nest, at least seven of the characters here will be seen again).

1. The place of this film in the trilogy? Impact, the middle story, open-ended?

2. Presuppositions, Lisbeth Salander, her skills, research, mental condition, violence and the fire attack on her father? The lawyer, sexual abuse, the video? The connection with Michael, his investigations? The work for the family, the article, Michael in jail? Lisbeth abroad?

3. Stockholm, the city, the visitors, ordinary, the streets and offices, apartments? The countryside, the summer houses, locations for attack? The musical score?

4. The credits, the information from the past, the lawyer, his being accosted, given jobs? His relationship with Lisbeth, the documents, her visit, his sleeping, her confrontation, and his fear?

5. Michael and Lisbeth, a year without contact? His work at the magazine, aims, his relationship with Erica? The family party, his being a bachelor? Annika and his wanting her to do legal checks, his discovering the bodies, her comfort?

6. Dag and Mia, in themselves, young, the research, their pitch to the magazine, its being accepted, the data, seeking more information? The explanation of the bringing the women to sweeten? From Russia with Love and the documents? The need to check? The contact with Irina, the water, the discovery of her body? Dag and Mia dead, Michael at the funeral? The gun of the lawyer, with Lisbeth’s fingerprints? The discussion whether to publish or not?

7. The authorities, Bublinski, establishing a special squad? Their investigations, the personnel, the leak to the press and Nicholas being fired?

8. Lisbeth, her visit to Armanski, his saying she did not care about people? The news about Holger, his meal, her concern, her hiring the trainer full-time for him?

9. The lawyer’s death, the police, deciding Lisbeth was responsible? The interviews? Michael and his own investigations?

10. The accusations against Lisbeth, the television news? Michael and Erica and their discussions? Their sexual liaison?

11. The background of Lisbeth’s psychological condition, the documents, the treatment, suffering, her dreams?

12. Miriam Wu, the sexual relationship, the sex shop, the police and the interrogations? Her abduction and torture? Rescue, the police and the interrogation? The break-in in her apartment, trashing it? The other reporters contacting her? Strange theories about Satanism…?

13. The client for the prostitutes, Michael and the lottery technique, the phone call, the client tricked, Michael’s visit, the photos of girls abused, the further background of his police connections, with the lawyer, with other officials and their being his controllers? The man not wanting his name to be publicised?

14. The other officials, the phone calls, the information, Lisbeth making herself up, stringing him up, his daughter’s arrival? Interrogation about Zala?

15. Michael, at the cafe, discussing theories with Bublanski? Going to see Paolo, the information about Lisbeth and her skills, boxing?

16. The blond man, the abductions, Paolo following him because of the abduction of Lisbeth? The extensive fights and brutality? The hospital, discussions with Michael? Bublanski?

17. The official, contacting Michael, the truth about Zala? Wanting to be out of the report? The information about Zala and his migration from Russia, being accepted?

18. The blond man, dangerous, his confrontation of the men who should have set the house on fire? Lisbeth going to the lawyer’s house, the attic, finding the documents? The fight with the men, her getting the gun, taking the motorcycle? The police on the site, making connections?

19. Michael and the discussions, with Lisbeth? The visit to Holger, his explanations? The story of Lisbeth’s father, 1969, coming from Russia, marrying his wife, the brutality, her supporting him, Lisbeth and her anger, attacking her father with the fire? His getting officials to intern her?

20. Lisbeth, the confrontation with her father, with the blond man, his being her half-brother? The torture? Her response, the attacks, shooting? Michael and his search, arriving, the police, taking Zala away to hospital, taking Lisbeth?

21. A satisfactory ending to this middle part of the trilogy? Further investigations?

DRUMS IN THE DEEP SOUTH

US, 1951, 87 minutes, Colour.
James Craig, Barbara Payton, Guy Madison, Barton Mac Lane, Robert Easton, Craig Stevens.
Directed by William Cameron Menzies.

This is a Civil War drama, focusing especially on protagonists in the South but, ultimately, showing the victory of the North.

The director was William Cameron Menzies, who served in World War I, returned to Hollywood and excelled in special effects and production design, winning the first Oscar for this with The Dove in 1928. He also worked on the design of Gone with the Wind. He was less successful with his feature films although he made Things to Come, based on H.G. Welles novel.

The film is from RKO, a small-budget featuring James Craig, veteran from the past, Barbara Payton, the ill-fated starlet and up-and-coming Guy Madison.

1. The popularity of films about the Civil War? The perspective from the South? From the North? Ultimate defeat of the South, the victory of the North?

2. The work of the director, as director, as production design, the lavish design of this film? Dimitry Tiomkin and his musical score?

3. The locations, the Southern mansions the military exchanges, the Devil’s Mountain, interiors, the top, the canons, firing on the train, the final explosion?

4. The introduction to Catherine, her husband, business interests, her marriage, the past relationship with Clay? Lifestyle, the old uncle, his memories the cotton plantations and the Blacks’ presence?

5. Clay and Will and the visit, the discussions, business plans? The outbreak of the war? Clay from the South, Will from the North, commissions, both from West Point?

6. The collage of the battles over the years? 1864, Sherman and his March through Georgia? The need for supplies, ammunition?

7. Catherine, at home, the occupation, spying, using the sun’s reflection with mirrors, the soldier from the north and the picture of his family, the uncle, the shooting, Catherine wanting to write to his wife after seeing the photo?

8. Clay, in command, the troop, wanting to stop Sherman? The passage within the mountain, the engineering to get canons to the top? Firing on the supply trains? Success? The North keeping the trains out of range, the need for wire, Catherine taking the piano wire, the success?

9. Will, his arrival, the relationship with Catherine, allowing her to stay, his anger at her taking the piano wire, keeping a prisoner?

10. The Yankees getting inside the mountain, the final stances? Time running out, Catherine going to persuade them to surrender, her being shot, Clay urging the men to surrender, Will waiting extra minutes, the blast in the mountain, the death of Clay and Catherine?

11. The final words of the film about the forging of the unity for the United states?

ANOTHER WORLD/ UN ALTRO MONDO

Italy, 2010, 110 minutes, Colour.
Silvio Muccino, Michael Rainey Jr, Isabella Ragonese, Greta Scacchi,
Directed by Silvio Muccino.

This film was made both in Italy and in Nairobi and the countryside of Kenya.

The focus of the film is a 28 year old man, Andrea, played by Silvio Muccino, co-wrote the screenplay and directed the film. (He is the brother of Gabriele Muccino, director of films in Italy and in the United States, including The Pursuit of Happyness.) At his birthday party, he receives a message from his long-gone father, urging him to come to Nairobi. His aristocratic mother, played by Greta Scacchi, does not want him to go, nor his girlfriend, Livia.

In Nairobi, a social worker explains that his father has died, has left a message, as well as a half brother from a woman who has died. Andrea does not want the boy, Charlie (Michael Rainey Jr, an American actor who lived in Italy to prepare for the film). He sees him as a burden and takes him into the country to find relatives, only to find a man who may be his grandfather, spurning him. Unable to avoid the situation, he takes Charlie back to Italy, looks after him for a while, sends him to school where his bullied and unhappy. Livia is more accepting and while they consider trying to have the child adopted, they share his life and decide that he should live with them. Andrea’s mother also confesses that she was embittered towards her husband and that in fact, she drove him out, and he was a good man.

An interesting and humane film in the evermore complicated and international connections.

1. An interesting film? For Italians? For Africans? Worldwide audiences?

2. The Italian settings, middle-class, affluent lives? The contrast with Nairobi, the Kenyan countryside, the fishing village? The musical score?

3. Andrea, his age, work, party, tensions with his icy mother, his relationship with Livia? His life ahead of him? The party, the message from his father, his mother insisting he not go to Kenya? His decision to go, meeting the social worker, his father being dead, the message, the news about Charlie and his relationship to his father? His reaction, trying to avoid Charlie, booking his flight back, the social worker trying to persuade him, his meeting Charlie? The decision to go to the country, the long journey, sleeping in the car, outside, bonding between the two? The village, the old man, fishing, against colonials, not wanting anything to do with Charlie?

4. Andrea taking Charlie back to Italy, the reaction of his mother, the reaction of Livia? Their wanting him to be adopted?

5. The day by day realities of life with Charlie, getting him into school, the reaction of teachers, students, his being picked on? His unhappiness, fighting? At home, the relationship with Andrei with Livia, her warming towards him, their experiences together? Andrea and his defending Charlie, at school?

6. Gradually becoming a family, Livia and her maternal instincts, Andrea and the change with Charlie’s presence? His realisation that his life would change?

7. The couple accepting Charlie, Andrea’s mother confessing that her husband was not a bad man, that she sent him away, and the news of the good that he did in Kenya?

8. An example of contemporary challenges in an international world?

LEVIATHAN

Russian, 2014, 140 minutes, Colour.
Aleksey Serebryakov, Elena Lyadova, Vladimir Vdovichenkov, Roman Madyanov.
Directed by Andrey Zvyagintsev.

Leviathan is the sea beast in the book of Job, a testimony that God is more powerful than Job or any human and that is a perspective that should guide us in our lives. Leviathan is also the title of this fourth film by Andrey Zvyagintsev whom many critics are praising as one of the great directors of our times. His previous films are well worth seeing, his Venice-winning The Return, also The Banishment and his alarmingly critical view of contemporary Russian society, Elena. With Leviathan he continues his critical view.

The film is strikingly photographed, in an isolated town on the northern Russian coast. On the shore, on one of the beaches, there are the massive bones of a stranded whale skeleton. There are also the skeletons of ship hulks. And in one beautiful, but ultimately tragic sequence, there is a sequence of a whale frolicking, leaping out of and then into the vast sea. Plenty of symbolism, a lot of metaphor for what happens in the film.

We are introduced to Kolya, the very ordinary and mundane Job of the film, waiting at the railway station for an old army friend from Moscow who is going to help him in a court case against one of the town authorities who covets Kolya’s property, his house and warehouse, overlooking the sea, for commercial development.

Kolya is going to suffer from his dealings with the authority, a smug and violent man, who manipulates people and, hypocritically, kowtows to the local Russian Orthodox priest, who speaks beautiful words at a closing ceremony about Jesus and the gospel, while conniving at behaviour, the opposite of gospel values.

But, Kolya is also going to suffer at home. He is not a particularly well educated man but has skills with his hands, mending, fixing, creating. At home is his second wife whom he loves but who has ambivalent feelings for him and for his friend. Also at home is his son, Roma, a teenage boy with a bitter attitude towards his stepmother, prone to depression.

The film takes its time in developing the characters in the situations, meal sequences, a picnic which has ominous consequences, to scenes of Kolya at court, with the officials of the court reading charges at great speed and with deadly monotone, striking commentary on the role and indifference of law and its application.

Kolya is not a perfect man by any standards and, along with a number of the characters, puts away an extraordinary amount of vodka, clouding his judgement, inclining him to violence, and, at the end, he becomes a victim of his own behaviour, trapped, imprisoned, but also a victim of the avaricious authorities.

Russian film companies invested in this film but the experience of watching Leviathan makes us ask how this story relates to the Vladimir Putin era, the place of individuals, the power and greed of the oligarchs, the effect on ordinary citizens far from Moscow.


1. Acclaim and awards for the film? The career of the director? Russia, his perspectives? Isolated towns, industry, society and family, authorities and exploitation? Government? The church?

2. The director’s stances, the focus on ordinary people, on the authorities and the gangster behaviour, ruthlessness, exploitation of murder? The perspective on the church, ordinary priests serving the people, the Bishop, his liaison with the wealthy and encouraging him? His final sermon on the double standards in preaching the Gospel of Christ in these situations? The presentation of the law, the impersonal reading of charges? Authorities and manipulation?

3. The Russian government at the time of the film, the role of Vladimir Putin? Memories of the Soviet Union? Targets? Brezhnev and Gorbachev for people to do their gun practice?

4. The impact of the film for Russians, those who know the situation in Russia well, for outsiders and those not familiar?

5. The title, the book of Job, Job and his sufferings, humiliations, learning humility, God’s intervention and speeches, Leviathan as the sea monster? The 17th century book by Thomas Hobbes? The whale bones on the shore, the skeletons of the ships looking like bones? The glimpse of the life whale in the sea?

6. The town, the outskirts and Kolya’s property? A loner? Going to the train, meeting his friend from Moscow, the bonds from the past, the army? Industry in the towns, the roads, the bridges, the streets, the court?

7. The countryside, the touch of desert, the sea cliffs and the mountains? The musical score and the use of classics, music of Philip Glass?

8. Kolya’s story, meeting his friend, his wife and his love for her, younger? His son, angry, depressed, clashing with his stepmother? The role of vodka, drinking and drinking? The discussions, going to the court, the legal reading of the charges in monotone? Vlad, his money, his power, the need to research his past and find evidence against him? The friend advising about the loss of the case but taking it up afterwards?

9. The friend from Moscow, his skill as a lawyer, friendship with Kolya, the relationship with Kolya’s wife, the picnic, the sexual encounter, the attacking
him, his retreat, injuries? The appointment with Vlad, the deal, in the car, the brutality, the threat of death, the gun? His return to Moscow?

10. Kolya, his skill with his hands, his workshop, whether to sell his property or not? Packing things? His love for his wife, concern for his son, the picnic, the attack on his friend?

11. The police, the initial roadblock, the policeman’s wife, the friendship? The man coming to get his car fixed, going to the picnic, targets, shooting, the machine gun? The drinking? The fight off screen?

12. Kolya’s wife, her marriage, love for her husband, care for him, the clashes with Roman but trying to care for him, at work at the factory, friendship with Angela? The encounter with the man from Moscow? Her having to make a decision? Not going to work, Angela missing her, her standing on the cliffs, watching the sea, seeing the whale? Her death off screen, finding her body on the shore?

13. Angela, her husband, friendship, concern, talk about Kolya, seeming evidence that he killed his wife, his violence and threats?

14. Kolya, drinking, the threats, the evidence against him, the police, the interviews? The innocent man and his being unable to defend himself? Imprisoned?

15. Vlad, the setup, hearing that Kolya would get 15 years imprisonment? Taking over the site, demolishing the building? His discussions with his superiors?

16. The church seen, the bishop, in pomp, the long sermon, the discussions about Jesus, Jesus and social concern but the bishop’s opposite stances? Encouraging the?

17. The local priest, talking with Kolya, asking about coming to church and confession?

18. The congregation at the religious ceremony, the wealthy citizens, the oligarchs?

19. The audience left with the story, an ordinary character, the memory of Job, issues of power and the consequences?

20. An allegory for contemporary situations in Russia?

BRICK MANSIONS

US, 2014, 90 minutes, Colour.
Paul Walker, David Belle, RZA, Gouchy Boy, Catalina Denis, Auisha Issa.
Directed by Camille Delamarre.

For fans of action films, the plot might seem somewhat familiar. It is. It is the screenplay written by Luke Besson for his French action film, Banlieue 13. Its star, David Belle, performs in this translation of the action to Detroit in 2018. Belle is noted for a group which invented Parkour, a means of performance using every aspect of the body and its movements for action sequences. These were striking in Banlieue 13 and just as striking in this film, especially for someone at the age of 40.

The setting is the near future, Brick Mansions being an area of Detroit in 2018 which is the centre of drug activity and slums, with a huge wall built separating the area from the rest of the city, akin to the wall dividing Israel and Palestine.

The film is full of action, an extraordinary chase within the first 10 minutes involving David Belle, car chases, martial arts fights, fistfights, shootouts. The action, while interesting, overpowers the rest of the plot, the work by an undercover policeman, Paul Walker in one of his last films, in capturing drug lords and infiltrating Brick Mansions to diffuse a neutron bomb. In the background are machinations by the Mayor to sell off Brick Mansions to highflying entrepreneurs and even willing to detonate the neutron bomb to eliminate the population and bring down the buildings.

David Belle portrays a Frenchman, living in Brick Mansions, who is against drugs and becomes the target for one of the main dealers, Tremaine Alexander (RZA) who has been named as the killer of Paul Walker’s father. The Frenchman’s girlfriend is also involved as is a very tough female assistant to Tremaine. The unmasking of the authorities is to be expected, but the twists at the end, rather unlikely.

1. A remake of a French film, transferring the action and issues to Detroit in 2018?

2. The title, the visualising of the area of Detroit, dilapidated, gangs, drug dealing, guns? The plans for the area, to be sold off, the development, to be destroyed by the neutron bomb?

3. The emphasis on action, David Belle and Parkour, his character, his skills, the chases, the fights? The initial 10 minutes, Lino destroying the drugs, the thugs in their pursuit, the extraordinary extended chase – the details, and the later leaping from building to building and urging Damian to do the same? The taking of his girlfriend? His trying to get her back? The doublecross, imprisoned, his killing the corrupt guard? The encounter with Damian, the pretence of the escape, his turning the tables, his recognising Damian as police, their working together, the fights, the athletic turns, the confrontation with Tremaine, the bomb, the rocket, the confrontation with Tremaine, the countdown to the bomb, going to the officials, the confrontation? With Lino at the end? Lola, Lino’s friend, her work, abduction, being guarded by the woman, the final fight, death? The happy reunion at the end?

4. Damian, the initial sequence, with the Greek, taken into the centre, his alerting his squad, the confrontation, the shooting, the pursuit, the taking of the Greek? His grandfather, smoking, his not wanting Damian to be involved in such dangerous work? The reports of his chase, his hanging onto the car at high speeds, the shootings, the arrest? Damian and his admiration of his father? The commission to go into Brick Mansions, undercover, with the Lino recognising him as police, the struggles, the turning of tables, the fights? The agreement to collaborate? Going together, the confrontation with Tremaine, the chases, the bomb, the rocket? Further chases, on the roof, the confrontation, the truth about Tremaine? The confrontation of the Mayor and his associate, the plan to use the bomb in Brick Mansions, his being filmed, on the television news, the arrest? Damian’s return to his grandfather?

5. Tremaine, former military, his decision to be Lord of Brick Mansions, his personality, cooking, discussions, ruthless and shooting? His girlfriend? The confrontation with LIno and Damian, the bomb, on the roof, not wanting to destroy people, the irony of his being a candidate for the new mayor?

6. The various henchmen, thugs, police, corrupt police, the civil administration and its plans?

7. Action and its domination of the social consciousness screenplay?

PURGATORY

US, 1999, 90 minutes, Colour.
Sam Shepherd, Eric Roberts, Randy Quaid, Peter Stormare, Brad Rowe, Donnie Wahlberg, John David Souther, Amelia Heinle, Shannon Kenny, John Dennis Johnston, Saginaw Grant, John Diehl, R.G.Armstrong.
Directed by Uli Edel.

Purgatory is a very interesting western made for television at the end of the 1990s, one of many fine westerns made by TNT.

As can be gauged from the title, there is a religious dimension to the plot. However, it begins as do many westerns with an elaborate bank robbery, the arrival of the military, and an extensive shootout with many deaths, the gang escaping with the money and a posse in pursuit. The gang is finally tracked down by the posse on the top of a cliff. The gang ride through tunnels and caves in the mountains to arrive at town called Refuge where they decide to stay.

It is here that the film changes its tone. The symbolic name of the town is Refuge and it is a Purgatory town for so many of the famous outlaws of the 1860s and 70s, including Jesse James, Wild Bill Hikock, Billy the Kid, Doc Holliday… They are portrayed by such stalwarts as Sam Shepherd and Randy Quaid. But there is a young man, Sonny, Brad Rowe, who reads the novels about the West and recognises the characters. He also falls in love with a woman who had been hanged for murder, Rose. The gang is led by Eric Roberts as Blackjack. Peter Stormare is the brutal uncle of Sonny.

The action is predictable insofar as the gang causes difficulties in the town and the outlaws, without weapons and advocating peaceful means of conflict resolution, have to make a choice as to whether they defend their town by taking up arms or let the gang succeed. The results are played in a finely choreographed and edited gunfight.

The coach driver who brings people into the town and takes them to paradise makes a fine comment that the Creator might be tough but is not blind to people fighting for others.

The director of the film is German Uli Edel who made fine films in Germany including Christiane F. and The Baader Meinhoff Complex, who also worked in the United States on films and miniseries including Last Exit to Brooklyn.

1. The title, expectations? In a western setting?

2. The aftermath of the Civil War? Lawlessness, the famous outlaws? Their activities in the 1860s and 1870s?

3. The conventions of the Western, the western town and its life and style, the daring bank robbery, shootouts, escapes, posses in pursuit? An escape through caves, finding a peaceful town, causing trouble?

4. Differences from ordinary westerns? The town of Refuge? The sheriff, the doctor, the storekeeper, the various farmers, the women? The importance of the church? The town of peace, no guns?

5. Audiences responding to the revelation about the town of Refuge, its being a purgatory? The famous outlaws and their presence, doing time in Purgatory, keeping the peace, no weapons, the sense of justice? The fact that they were all dead and in this state, making up for their lives, getting a flower to indicate that their time was finished, the coach driver and his bringing new people, taking others away? The Indian on guard, taking away those who broke the peace and used violence?

6. The opening, the elaborate preparations for the bank robbery, the performance of the robbery, the military coming into town? Sonny and his being young, reading his novels about the West, easily distracted, his harsh uncle, his treatment by Blackjack, his encounter with the young woman and recognising who she was? The robbery itself, the interruptions, the large number in the gang, so much shooting, so many deaths, Dolly and her being shot, Sonny and his helping her, her death? His riding the horse, rescuing the wounded man?

7. Blackjack and his character, ruthless, organising the robbery, his control over his men, attitude towards Sonny? Callous in the shootings? Letting Badger die and Badger accepting this, asking Sonny to shoot him? The escape, the pursuit, the posse on the top of the cliff, again riding away, going through the tunnels in the mountains, finding the town of Refuge, peaceful, the green countryside?

8. The sheriff of Refuge, peaceable, welcoming the gang, listening to their explanations, knowing that they were lying? The wounded, being treated by the doctor? Going to the saloon, free drinks, the storekeeper? The various other members of the town? Rose? Sonny attracted to her? The church and the religious perspective of the town?

9. The familiarity of some of the characters, Sonny calling out to Doc to draw and his response? The revelation of the characters were: Wild Bill Hitchcock, Jesse James, Doc Holiday, Billy the Kid… Rose and her explanation of who she was, hanged, the molestation by her father? The arrival of Dolly, being called Ivy? Time passing, keeping the peace, the discussions in the church, the sheriff and his time almost up? The coach driver and his bringing new residents, taking others to paradise?

10. The focus on Sonny, his shooting Badger in the desert at his request? His reading of the novels, recognising the characters, falling in love with Rose, the swimming, the discussions? His treatment by his uncle, brutal? His going to the church, his explanation, his wanting to defend the people and Rose?

11. The recklessness in the town, the drinking, Blackjack and his leadership, the uncle and his drinking, Sonny knocking him out as he approached Rose? The shooting, the knives and the target practice, aiming at the sheriff, the clouds coming over, the lightning striking the knife? Blackjack and his threatening the sheriff, the clouds coming again?

12. The sheriff asking the group to leave? The refusal?

13. Lefty, his story, his gardens, the men on horses trampling the fruit and vegetables, his violent reaction, the attack and killing one of the men, his having to go to the gate, the vigilant Native American Indian? Going to his fate?

14. The decision by the outlaws, to resort to violence, in defence of the innocent?

15. The choreography and the final shootout, editing and pace? The skill of the outlaws, the shooting, Sonny and the confrontation with his uncle?

16. Blackjack and the uncle, their deaths, going over the cliffs and consumed in Hell?

17. The coach driver, his arrival, the group’s thinking that they were doomed, the coach driver saying that the Creator was tough but not blind and so taking them away to heaven? The sheriff giving his badge to Sonny?

18. A western that was in many ways the same but was quite different?

WALLANDER: PRAESTEN/PRIEST

Sweden, 2009, 90 minutes, Colour.
Krister Henriksson, Lena Endre, Mats Bergman, Fredrik Gunnarsson, Tobias Aspelin, Lena Carlsson.
Directed by Henrik Georgsson.

Krister Henriksson plays Wallander in twenty-six episodes, the first in 2005, the second in 2009/10. He is a contrast with Kenneth Branagh who portrayed Wallander in nine British/Swedish telemovies.

The Swedish films are much more ordinary in their presentation of police work in Sweden, contrasting with the Branagh version where he is a tortured soul and the film focuses on his own personal crises, relationship with his father and his daughter, his anguishing over his work and its implications.

The team is there working with him. This film involves the murder of the priest who was having an affair, his connection with the charity who was selling equipment cheaply to Africa, and exposé of corruption.

The films are interesting police stories in themselves, as well as Swedish interpretations of the novels by Henning Mankell.

1. Wallander and his capacity for investigation? As a policeman? His personal character? Characteristics throughout the series?

2. The city of Ystad, as a town, the waterfront, the police, the church, charities? Landscapes and details of the town? The musical score?

3. The setting of the scene: the priest, his wife, the affair, covering it, possibilities for divorce, his wife at home?

4. His being killed, the hospital, his body? The investigation, the interviews, the news, the issues of the charity work? Reactions? Suspicions, the wife and
her ignorance? The priest’s wife?

5. Wallander, his staff conducting investigations, the discussions, their methods, the interviews? The church?

6. The charity, the issue of the equipment, selling it? The head of the charity, his character? Exposure, the wife, innocence, the partner?

7. The wife, at the hospital, the relationship with her husband? The issue of the truck?

8. The wife, prim, suspect, prayer, her friend, help, the baptism?

9. The partner, help, the irony of the truth?

10. Katharina, involvement, the prosecution? Relationship with Wallander?

11. Wallander, his team, the people, the church, the charity, Wallander and his change of mind about the suspect?

12. The factory, the search, the partner, the gun?

13. Freeing the innocent? The judgements?

14. The trial, witness, the lies, the payoff?

15. The satisfactory resolution?

BAD GRANDPA.5/JACKASS PRESENTS BAD GRANDPA.5

US, 2014, 76 minutes, Colour.
Johnny Knoxville, Spike Jonze, Catherine Keener, Jackson Nicoll, Jeff Tremaine.
Directed by Jeff Tremaine.

The Jackass Group has been making films and television series since 2000. The series and films are based on the principle that any kind of prank, no limits, no matter how gross, can be played on anyone, and especially an unsuspecting public. In the Jackass films, the pranks tend to be violent, indicative of a comic death wish, and sex-and-bodily-function-related. And, at the end, there is always a warning that the audience should not attempt any of these pranks.

In 2014, the group took up a character, Irving, an old grandpa played by Johnny Knoxville and decided to make a feature with him reluctantly going on travels with his grandson, played by Jackson Nicoll. It was a mixture of the prank, the crude and crass, the humorous.

The group also decided to compile this collection of outtakes with some documentary interviews and scenes of the making of…

The director, Jeff Tremaine, also directed this film and spends a lot of time in front of the cameras explaining what he intended with the film, how we dealt with the performers, the experience of making the film and the tradition of Jackass.

Once again, Johnny Knoxville was featured, sitting in his actor’s chair and reminiscing and commenting, going through the process of make-up – and, in real life with his commentary, not nearly as funny or as presentable as his character, Irving.

Much more likeable is Spike Jonze, in with Jackass from the beginning, doing a lot of the writing, but also playing the outrageous elderly and unattractive, Gloria. Jonze speaks a lot to camera, laughs a lot, is more engaging than Johnny Knoxville. We see him putting on make-up, commenting on the character, planning the pranks. There are scenes from Bad Grandpa but also extended scenes where he comes on to people in real life and their reactions are filmed, often with their face blurred to avoid identification. Gloria is a particularly obnoxious creation but does have a lot of verve. Actually, it is very hard to imagine that this was the man who wrote and directed the much more subtle comic films, Being John Malkovich, Adaptation and, especially, his Oscar-winning screenplay for Her.

Also of interest is the presence of Catherine Keener, a distinguished actress, but joins in the spirit of the thing, appearing in disguise in Bad Grandpa as Irving’s wife Ellie, with a lot of sequences with her dead, in the boot of a car, with plans to bury her in the backyard. There are extended sequences that were filmed, especially testing out people who were willing or unwilling to go through with the burial.

While the young Jackson Nicoll does appear, his appearances in this film are very limited.

The film maintains interest with the dispersing of the extended sequences with interviews with a lot of the technicians, directors of photography, make-up artists…

The features of the film include going back to the development of the character in 2001, extended sequences of the make up and its development with greater pliability and therefore expressions from Johnny Knoxville. With the pranks, there is a very long sequence with Irving driving a golf cart and irritating the golfers. He challenges three rather large black men about their smoking and they come out smoking cigars. He sits at a seat in a park and by the water, with some characters hired as babysitters for him, but others not, including tripping one of the technicians, stealing his wallet, embarrassing the woman was sitting with him, but eventually giving the money back.

There is a sequence in the store with Jackson Nicoll sitting on Santa’s lap and peeing, embarrassing Santa Claus. Even more embarrassing is Irving going to a pool at a hotel and emptying his colostomy bag.

One of the longest sequences involves Irving driving into a huge Penguin outside a gas station and a very long and sometimes rancorous interchange with one of the staff – who is eventually let in on the joke and is a good sport about it.

One of the features of the film is an artificial penis and scrotum, the development of that prank, testing it out with a range of pizza delivery men who do not, or do not want to notice.

There is advice for a stunt as to whether the front window of the car should be up or down. There is a lot of explanation and demonstration of how concealed cameras are used and what the effect is, quite interesting in the detail. There is a relationship guru, an adviser on sexual behaviour, strippers in a gay club and a chase through a church with the interruption to the choir.

There are scenes and make up for Catherine Keener, the wig, her nose, praise of her skills at improvising, followed by several sequences, real, with actual funeral planners with one very serious planner finally being let in on the joke.

There is a visit to a casino, the hearse with the body of his wife falling out, the several diggers who won’t disobey the law about burials in the backyard – though one will, in North Carolina.

Finally, there are lots of interviews with Spike Jonze, seeing him made up as Gloria, his joking in his artificial voice and his real voice, and extended sequences of Gloria in restaurants or coming on to men.

Probably all you needed to know – or more than you needed to know – about Jackass and Bad Grandpa.

ROGUE'S MARCH

US, 1953, 84 minutes, Black-and-white.
Peter Lawford, Richard Greene, Janice Rule, Leo G.Carroll, John Abbott, Sean Mc Clory, Michael Pate.
Directed by Allan Davis.


Rogue’s March is a minor MGM feature from the early 1950s, akin in many ways to the stories reworked from Gunga Din as well as The Four Feathers. A few years earlier, a Gunga Did story, Soldiers Three, was filmed by MGM. The main location work, for the battles, was done in the actual Khyber Pass.

Peter Lawford plays a British officer at the turn of the 20th century, and Leo G. Carroll is his Colonel father, being sent to India to quell uprisings, wanting his son to transfer from British Intelligence where, in fact, a spy for the Russians (John Abbott) is passing on secrets and the officer is court-martialed. He escapes from prison, joining the regiment to go to Singapore but which is transferred to India, where he tries to keep his new identity but is found out, imprisoned again, but escapes and helps his friend and rival for his fiancee’s hand (Janice Rule), Richard Greene, to discover stolen ammunition and plans for an attack from the locals. The Russian spy is arrested, tells the truth – with the officer reinstated and a happy marriage on the horizon (and his competitor remarking that he wants to go to execute Cupid).

The title refers to the music played when somebody is drummed out of the army – with a scene and a literal drumming.

The film was a minor production in those days but it is an interesting variation, with expectations fulfilled, on British Empire The Great Game.

1. An entertaining minor film about espionage and uprisings around the Khyber Pass? Similarities to other films of the period?

2. The title, the march for a soldier being dismissed, literally drummed out of the regiment?

3. The location photography at the Khyber Pass for the battle sequences? Authentic feel? The British and their attack? The uprising of the locals, the bombardments?

4. British locations, a sense of London,’s P and O Line, transport to India and Singapore? Bombay, the location headquarters? Musical score?

5. The situation at the turn of the century, Empire, uprisings in India, the Khyber pass? The military presence in India? Civilian presence? Strategies, placement of troops, espionage?

6. Dion, his career, British Intelligence, his assistant, stealing the documents and passing them on, his friendship towards Dion, the cover, cake? Dion and his father, transferring from Intelligence, to the regiment, the plans to go to India? His friendship with Tom, the rivalry for Jane, the dinner, his proposal?

7. The Russians, contacts, Dion’s assistant, taking the documents, wanting to get them back, his presence in the court, incriminating Dion, his wanting to escape, his being murdered?

8. The wharf, Dion being arrested, held, the charges, the court martial, the evidence against him? Imprisoned? His escape?

9. Dion, undercover, jobs in the bar, hearing about Singapore, his new name, enlisting, the friends and the barracks, his being called Sir, considered a snob? The sergeant major and his humiliations, Dion excelling at target practice?

10. On the boat, the transfer to India, in Bombay, his not going out? To the Khyber pass, the train ride? Keeping undercover, his sentry duty, hearing Jane speak? His being arrested, his father believing the evidence? The relationship with Tom? The Irishman, bringing him the drink in the guard room, unlocking the guard?

11. Dion, the plan with Tom being disguised, his attacking him, realising what had happened? Their mission together, over the days, tracking down the locals, the stolen weapons, reporting back? Dion with the troops, the advice to the commander, the strategies, his going to the top of the hill, the advances,
the rout?

12. The arrest of the Russian, his telling the truth, Dion being reinstated, reconciled with his father, Jane always believing him? The wedding – and Tom wanting to execute Cupid?