QUEEN OF THE DESERT

US, 2015, 190 minutes, Colour.
Nicole Kidman, James Franco, Damian Lewis, David Calder, Jenny Agutter.
Directed by Werner Herzog.

For more than 40 years, Werner Herzog has been both provocative and profound in his range of films. He began with some art-house narrative features, including The Enigma of Kasper Hauser as well as a version of Nosferatu in the 1970s. He has also continued to make a number of documentaries, and is well-known for his hard treatment of his cast, especially in the Latin American-set films, Aguirre, The Wrath of God and Fitzcaraldo.

Over the decades, he has been prolific, blending features and documentaries, often going to remote areas to exploit human experience there, including the Antarctic (and, in some moments of irony, he comically voices a film-maker in Antarctica in the animated film, Penguins of Madagascar). In recent years, he has worked from a base in the United States, making such features as Bad Lieutenant, New Orleans, as well as a documentary on the prehistoric drawings in the caves in France, Cave of Forgotten Dreams, filming in 3 D.

Yet, it is something of a surprise to find him making Queen of the Desert. It is very much in the traditional modes of filmmaking, a straightforward narrative, action sequences and romance, with a historical perspective.

Gertrude Bell was an English woman, educated at the University, a pioneer in her times at the beginning of the 20th century. Dissatisfied with life in England, she goes to the British Embassy in Tehran, finds the old Persian culture congenial, begins to learn Farsi, which becomes a preparation for her return to the Middle East and becoming something of an explorer and archaeologist.

However, the screenplay alerts the audience to her role during World War I, her friendship and association with T.E. Lawrence and the repercussions for knowledge of the Bedouin tribes, their alliances, the experience of the war and the reshaping by the conquering allies, creating Middle Eastern countries. Winston Churchill presides at a meeting early in the film to discuss the repercussions for the war and his advisers at the meeting refer him to Gertrude Bell, some very traditional male types sneering at her and what she has achieved.

The film looks very good, the scenes in England very much in the Merchant-Ivory? respectable style. Iran looks more than a touch exotic. But the film and its photography are beautiful and strong in the many desert sequences as Gertrude ventures into the Arabian pensioner, visits Damascus, and shares in aspects of the life of the tribes. Considering that Lawrence of Arabia was made in 1962, it is very surprising that there has not been a film about Gertrude Bell before this.

Herzog is well served by his cast. Nicole Kidman is at her best as Gertrude Bell, very much an English lady at all times, but one with a keen sense of enquiry, and empathy for the Arabs who receive her very well and consider that she is one of the best westerners for understanding them. On the personal level, Gertrude clashes with her newly-rich parents and their desire for a good marriage. In Tehran, she meets one of the staff who is attracted to her, teaches her Farsi, falls in love but has to return to England where her father forbids her to marry, with tragic consequences for the young man. Surprisingly, he is played by James Franco.

In Damascus, a married official (Damian Lewis) falls in love with her. She hesitates, but reciprocate only to find that he volunteers to fight in the war. Audiences might be surprised to find that after her adventures in the desert, Gertrude Bell worked for the British government, based in Cairo, collaborating with T.E. Lawrence and that she continued this work until her death in 1926.

Film buffs might be disappointed that Herzog, at this stage of his life and career, has made such a popular kind of film. Most audiences will find it interesting and entertaining.

1. The story of Gertrude Bell? History, biography, her personal story, in the Middle East, her achievement?

2. Werner Herzog and his career, the many documentaries, the avant-garde features? This film in the mainstream?

3. The period, 1900 to 1915, the British background, the mansion, the families, the socials? Tehran, the embassy, affluence, socials? The surroundings, the mountains and rivers, the desert? Damascus, Cairo, the British presence and offices? The scenes in Petra? The desert sands, the remote villages? The atmosphere? The musical score?

4. The opening, 1915, the discussion about the war, the protectorates in the Middle East, the influence of Russia, France, Britain? The collapse of the Ottoman Empire? Churchill and his presiding? The officer and his insults about Gertrude? Richard and his support? T.E. Lawrence and his esteem for Gertrude Bell?

5. Gertrude at home, her studying at Oxford, before her times? Her intellectual achievements and reading? The family’s wealth, the snobbery, expectations for Gertrude and social marriage? Her mother and her outlook, comments, her father and his agreeing, their characters? Yet Gertrude wanting to leave, her father’s letting go? Her father and his later preventing the marriage to Harry? The news of Harry’s suicide and the sending of the half coin and the message?

6. Tehran, the ambassador, part of the family? Florence and her flightiness, flirtation, emotions, especially concerning Harry, following, the billiards trick, the cards trick? His politely trying to put Florence off? Harry and his attraction to Gertrude, going out with her, confiding, the intimacy, the kiss, teaching her the language, the translations, the poetry? The proposal, the half coin? The love scene? Gertrude returning, his disappointment, going to the desert, his note, the coin, his death?

7. Gertrude, the news of Harry’s death, his being in her heart, her not wanting to marry anyone?

8. Going to the Middle East, archaeological work, the men working with her, Fattuh and Omar, the devotion? Riding in the desert, the camels, the camps? Amenities, the bath at the desert oasis? Her destinations and purpose? To know the Bedouin, appreciating their freedom, dignity? Going to the markets, the purchases? The British officers, meeting Richard, his trying to dissuade her, her determination? The British officer and his despising women, insulting?

9. The desert, not having a permit from the British or the Turks, the Turkish officer, Futtuh and his having the forgery? The courtesy of the Turks, the photograph?

10. Richard and Judith, intimate, the table talk? Richard’s attraction? Giving Gertrude the stallion, her changing it for camels? The gift of the pistols? Her giving them as a gift to the Sheikh? His love, and Gertrude not being ready? Judith and the prospect of divorce, threatening suicide? Gertrude writing the diary for Harry, his re-enlisting, his death in action?

11. The local feuds, and Omar’s feigning being mute? The visit to the Sheikh, the tribe, her being received, the dominant attitude, the Sheikh and the reference to Virgil, culture, his visits to Europe, enjoying Gertrude’s company, his protection?

12. The visit to Petra, the archaeology, Lawrence and his presence, the locals thinking Gertrude was his wife-two-be? The indication of Lawrence’s homosexuality? The discussions, shared spirit, local knowledge?

13. The request for her to be a spy, her refusal?

14. The visit to the tribe, the Sheikh, the men with guns, the compliment of offering the goat’s head at the banquet? The escort?

15. Going to Ha’il, the warnings, the history, her being the only one allowed in? Fatima and the woman from Istanbul and their warnings? Three weeks enclosed? The proposal that Gertrude become part of the harem? The young Sheikh, his arrival, the explanations that it was a dishonour to have a married woman in the harem? Being allowed to leave?

16. Writing a diary, Richard reading it? The impact of the return, her decision to end her travels?

17. The war and its outbreak, the collapse of the Ottoman Empire, British plans?

18. Appointment, going to Cairo, Churchill and his reliance on her, the photo opportunity? Meeting Lawrence, working together, their knowledge and advice? The plans for the Middle East, the meeting with Prince Faisal and his brother, predicting they would be Kings? Kingdoms of Iraq and Syria?

19. The final information about Gertrude, the public work, dying in 1926? The comment that she was the person who knew the Bedouins best?

45 YEARS

UK, 2015, 90 minutes, Colour.
Charlotte Rampling, Tom Courtenay, Geraldine James.
Directed by Andrew Haigh.

45 Years is one of those quiet and modest dramas that has quite an effect on its audience.

The 45 Years of the title are those of the married life of the central protagonists, Kate and Jeff. The film takes place over a week, a week of preparation for the weekend celebration of the marriage. Captions are given for the day by day drama.

Katie and Geoff seem a typical enough English couple. They are played most effectively, with a great deal of understatement, by Charlotte Rampling and Tom Courtenay. It is not a surprise to learn that they won awards at the Berlin Film Festival for Best Actress and Best Actor.

Andrew Haigh, who wrote and directed a perceptive gay story, Weekend, and was responsible for the television series, Looking, has a fine sense of the lives of ordinary people, men and women, in ordinary British cities like Norwich. More of the attention goes to Kate, the audience looking at Geoff and situations through her eyes. Normally, the week would have been very ordinary. Kate walks her dog in the morning, greets her neighbours, goes to the hall where this celebration will be held to check out that all, including the songs, is ready, has conversations with her friend Lila (Geraldine James), urges Geoff to go to a dinner for workers at the factory where he spent such a long time. But, at the beginning of the film, something happens which surprises both Kate and Geoff and the film moves into something of a modest secrets and lies story.

Geoff receives news that the body has been found of a young woman who fell into a crevasse in the Swiss Alps, Geoff with her at the time. Her body had been preserved in the ice all this time and Geoff is asked to come to identify her body as next of kin. What follows is Kate’s surprise to learn something of the rather more intense relationship than she had thought between Geoff and the young woman, as well as Geoff wondering whether he should go to Switzerland.

The couple work through these revelations, especially after Kate rummages in the attic and finds photos from that time, surprising her even more. It is not as if there were a great mystery. Rather, it is Kate ruminating on the 45 years of marriage given these previous events and her not knowing the detail during the years.

In some ways, this is Mike Leigh territory, but Andrew Haigh has made a much more gentle film, exploring the characters and their interactions, of two people who might well live up the street.

1. The title, the passing of years, marriage, the long time?

2. The Norfolk setting, Norwich, the visuals, the house, the shops in the streets, the celebration, the factory?

3. The musical score? The selection of songs for the celebration, throughout the film, dancing, memories? Smoke gets in your eyes?

4. The marriage, love, the initial choice, commitment, the years? Secrets from the past, the revelation, the effect? Shared or not over the years? The effect
of the secrets as the couple grew older? The revelation of the finding of the body, Geoff as next of kin, to identify the body in Switzerland? Discovered after so many years? The repercussions, deep hurt and doubt? The effect on Geoff and his memories, the revelation that he was to marry?

5. Kate’s story, Charlotte Rampling and her presence? Age, the 45 years, the story of her parents, not approving Geoff, falling in love, the wedding, the songs? Her being a teacher and the references, the neighbour with the twins, the syllabus? Retired? The couple having no children? Geoff and his ageing, the bypass, the 40th celebration? The ordinary life? Linda and her friendship, the discussions? The news, not knowing much about the woman, the story, the accident, rummaging in the attic, the slides, discovering Katya was pregnant and that effect? Her urging Geoff to go to the lunch, driving him? At home, the walks with the dog? Going to check the hall, its suitability? The music, the phone call? The couple happy together, the sexual encounter? The attic and the effect, Geoff in the attic? Geoff later coming home on the Friday? The reason for suspicions? Going to the travel agent?

6. Geoff, his age, love the Kate, the 45 years, the bypass, the memories of Katya, walking on the mountains, and a sudden fall, the disappearance of the body? The impact of the news, next of kin, whether he would go to Switzerland or not? 50 years earlier, in the mountains, prepared to marry Katia, pregnant? Kate and his commitment to her, the memories, but the underlying memories of Katia, the search, the photo? His moods, the sexual encounter? Not wanting to go to the lunch, his being sick on the way home? Going to the travel agent? not going to Switzerland, his health conditions?

7. Long friendship with, friendship, chatter, George and his ukelele? Lina talking about Geoff’s years?

8. Saturday, the gift, dressing, arriving, the chat, the people, Geoff and his speech, his commitment to Kate? The dancing together?

9. Geoff, his tears and his love?

10. Kate, listening to Geoff, her joy, the dance, yet the wariness and doubt on her face as the final image?

600 MILES

Mexico, 2015, 85 minutes, Colour.
Tim Roth, Krystian Ferrer, Noe Hernandez, Harrison Thomas.
Directed by Gabriel Ripstein.

600 miles is a rather small film, directed by Gabriel Ripstein, some of the celebrated Mexican director, Arturo Ripstein, set on the border of Mexico and the United States. The film was supported by Tim Roth who appears as an investigator living in Tucson.

The 600 miles of the title is from Tucson down into Mexico, a trip made by a young man and the investigator. It is something of a violent story although the treatment is rather restrained.

Guns and illegal smuggling of arms is key to the film. During the opening sequences, the young American goes from shop to shop, trying to buy guns and other weapons, served by very willing experts in their shops. He has a young Mexican friend and, together, they are building up a cache of arms to smuggle across the border.

All would have been simple, and probably was on many of their trips, until the local investigator is on to them. They overwhelm him, and the young Mexican man drives him down to his uncle who is the arms dealer.

The central drama of the plot is not the issue of the arms smuggling though that is significant, but it is the story of the interaction between the young man, more and more nervous, emotional, despite his manifestations of toughness, put to the test by his uncle, who is the dealer, who wants him to shoot the investigator. With some turning of tables, it means that the investigator gets the upper hand, has to decide how to deal with the young man, who is prone to fear and tears, and to return home.

This gives some suspense to the latter part of the film, the audience having some sympathy for the boy despite his being involved and his attempts at bravado (though there are some scenes with him studying himself in the mirror, some references to him as fag, and the suggestions that part of his gentleness may be due to a homosexual orientation).

Not a great film, but an indication that this young director might have a solid career before him.

1. A Mexican- US border story? Crime, police?


2. The settings in Tucson, ordinary American, the gun shops, garages? Police and agencies? Homes?

3. The Mexican locations, entering Mexico, the border guards, the stories for justifying being in the US, the Mexican towns, homes, criminals?

4. Road story, into Mexico, back? The musical score?

5. The American boy, the shops, checking the guns, the number of guns in the shops, the staff and their eagerness to sell guns, but within the law? Sharing with Arnulfo, playful, their plans, smuggling the guns, the vehicles?

6. Arnulfo, his age, tough, his American friend, their banter, playful fighting, attacked by the other group, his being called a fag, fighting, his fear, looking at himself in the mirror, his doubts about himself and his sexuality?

7. Mike, his life on the border, in Tucson, his work, the information, his relationship with his wife, discussing the issues with her?

8. Confronting the boys, their attacking him and hitting him? His being taken, Arnulfo as tough, the drive, taunting? Arriving in the town, taking Mike to his uncle, the contact with the bosses? The guns? The uncle, wanting to kill Mike, asking Arnulfo to shoot him, his reaction, tears, shooting his uncle?

9. The drive back, his fears, weeping, sleeping, the bond between the two? Michael leaving him and the desert? His future?

10. The return home, casual in the house with his wife, reading the paper, the final credits and the voices about preparing for the shopping?

11. The impact, real situations, characters, the interconnections between the US and Mexico, crime, violence, callous attitudes?

MR. HOLMES

UK, 2015, 105 minutes, Colour.
Ian Mc Kellen, Milo Parker, Laura Linney, Hattie Morahan, Patrick Kennedy, Hiroyuki Sanada, Roger Allam, Colin Starkey, Philip Davies, Nicholas Rowe, Frances de la Tour.
Directed by Bill Condon.

This very entertaining film has a lot going for it, a lot of fine ingredients and all fitting together perfectly.

In a press conference, Ian Mc Kellen stated that Sherlock Holmes was the greatest Englishman who never lived. Fans of Sherlock Holmes will appreciate this film, a story of Mr Holmes who gave up his investigations 35 years earlier, regretting that he did not understand the case that he was dealing with, the personalities involved, and the sad ending to the case. He has retired to Sussex, as was mentioned in some of the stories and some of the film versions, to keep bees.

Ian Mc Kellen is a very good choice to portray Holmes. He has the opportunity to play him at age 93, in that retirement in Sussex, keeping the bees, living quietly and unobtrusively, cared for by his stern housekeeper, Mrs Munro (played plainly but subtley by Laura Linney), a war widow, with a young son, Tom (a lively Milo Parker), who sees Holmes as something of a father or grandfather-figure. It is 1947.

We learn, however, that Holmes has made a visit to Japan, searching for a herb, Prickly Ash, that, with Royal Jelly, could be a means of healing for the ailments of old age. And Holmes is not without his ailments. We do see scenes of Holmes in Japan, especially visiting Hiroshima, and some visuals of local people who had been effected by the radiation. His host, who helps him to find the Prickly Ash, also has his own story which Holmes uncovers and, rather uncharacteristically, writes a letter at the end to this Japanese man, a letter of comfort about his father who disappeared long since to work with the British.

And, there are also flashbacks to the story, in 1912, where a man comes to ask Holmes advice about his wife who is deeply disturbed after two miscarriages. Speaking of flashbacks, there are also flashbacks within this story, to illustrate and traumatise it. It also means that we see Holmes at 58, investigating the case, indulging in some of his propensity for disguises, having an emotional discussion with the distraught mother, but quite misreading the situation, something which has haunted him and is now compelling him, at age 93, to write the story. As he writes, at different stages during the film, he has discussions with young Tom who is an alert lad and offers some clues and indications of how the story might be written.

In the scenes in 1947, Mrs Munro feels that Holmes is alienating the affections of her son (and with our 21st century alertness, noticing that Laura Linney plays Mrs Munro as looking at Holmes with a look of a mother who is apprehensive that the man is a paedophile). Rather, Holmes is very supportive of Mrs Munro, teaches Tom a great deal about bees, though there is some melodrama towards the end when Tom is stung.

This is a fine Sherlock Holmes story, a portrayal of his character, and indications of mellowing as he grows older, a touch of the old investigation style, his conversation which is always strong on facts and deductive reasoning, a film that happily shows us the best of Sherlock Holmes.

1. The greatest Englishman – who never lived!

2. Arthur Conan Doyle and Sherlock Holmes? The stories, the film versions, television, the range of actors and personas for Holmes, interpretations? This film based on the book: A Slight Trick of the Mind?

3. The characteristics of Holmes, as detective, his abrupt manner, his relationship with Dr Watson (and even falling out with him, not reconciled)? The stories, fictions, the deerstalker hat, the pipe…?

4. Imagining Sherlock Holmes in 1947, aged 93, 35 years since giving up detection, the reasons? Living in the country, housekeepers, his treatment of them, his health issues and the visits of the doctor, his manner of detection and habits of detection even in small matters?

5. Ian Mc Kellen, Holmes 93, in his late 50s? Character, speech, manner? An engaging Sherlock Holmes?

6. The structure of the film: in 1947, the flashbacks to Japan, the flashbacks to 1912, the flashbacks of the story? The effect?

7. The British locations, the countryside, the cliffs of Dover, the house, Japan, Hiroshima? 1912, London, Baker Street, the style, costumes and decor? The musical score?

8. 1947, the return from Japan, his mission for Prickly Ash, his book on Royal Jelly, his care for the bees? The work for his health? In Japan, the friendship with Umezaki, his mother, wanting the autograph, the experience of the people injured from the atomic bomb, in the cemetery, finding the Prickly Ash, the package? Signing the autograph, revealing that he knew the book was from the library? Umezaki and the sad story of his father in England and his staying there and never returning, the effect on the family? The later letter that his mother had died? The end, Holmes writing the story, creating a fiction, dramatising a remembrance, the narrative about the father and his heroism, espionage for Britain? The geniality and warmth of the letter and the story?

9. The bees, Holmes’ hobby, the wasps, the apiary, his work, loving the bees, inviting Roger to help him, Roger’s mother and her wariness, Holmes teaching the boy, his learning, the deaths of the bees, the helper no longer able to come? Roger wanting to find the cause of the dead bees? Attacked by the wasps, trying to defend the bees? In hospital, coma, eventually waking up? Mrs Munro and her attempt to burn the beehives, Sherlock Holmes and his explanation in detail of what had happened, the logic? Burning the wasps? At the end, Roger teaching his mother about the bees?

10. Sherlock Holmes health, the visits of the doctor, advice, using the Prickly Ash, using the Royal Jelly? His falls, having to stay in bed?

11. Mrs Munro and her hard life, love for her husband, his being a mechanic like his ancestors, joining the RAF, dying on his first flight? Her memories of the Blitz, talking to Roger? Housekeeping, cooking, her dour manner? Going shopping? Her love for her son, jealousy of Sherlock Holmes, alienating her son’s affections, her looking at him with suspicion? The prospects of a new job, the visit to Portsmouth, Holmes detecting where she had been? The plan, her leaving, taking Roger? Holmes and his donating his house to Mrs Munro and Roger? Their staying?

12. Holmes and his writing the story, the stages, Roger reading it, asking good questions, Holmes trying to remember, continuing? The flashbacks to Mr Kelton, coming about his wife, the story of the deaths of her children, the stillbirths, his refusal to have the headstones? The harmonica, her playing, her lessons? Her devotion to the teacher? Her husband and his suspicions, moods, her forging his name, the checks, paying for the good pupil? Kelton confronting the teacher and her vigorous response? Holmes following her, her being in the garden, her waiting for him, leading him on, buying the poison, with the Mason, Holmes and the offer of the Palm reading, his story, her defying him, the explanation, Holmes and his offer to share solitude with her and his not following through? Her death, visualised, standing in front of the train? The various tombstones for mother and children? The gloves, the bees, her scent? Holmes keeping the gloves, Watson hiding them in the compartment? Watson writing the story, glamorising it? Holmes and his decision to retire, not able to help Ann? His going to see the movie, the actor playing Holmes? Holmes and his vociferous comments? The explanation of his failure to Mrs Munro?

13. The image of Sherlock old, still monitoring the facts, saying he had no time for imagination, dialogue with his inner thoughts, ultimately finding logic was not enough? His feelings for the Japanese friend?

14. Gathering the stones, the memories of the dead? The final image? Audience enjoyment in sharing another Sherlock Holmes story?

LOVE AND MERCY

US, 2014, 122 minutes, Colour.
John Cusack, Paul Dano, Elizabeth Banks, Paul Giamatti, Bill Camp.
Directed by Bill Pohlad.

Love and Mercy is the title of music by Brian Wilson, one of the original Beach Boys, composing many of their songs, sometimes performing them.

At this stage of his career, Wilson is portrayed by Paul Dano, always an idiosyncratic actor but here relishing the opportunity for performance, a man on the edge, singing but not wanting to tour, composing songs, comfortable in playing with a studio orchestra, encouraging their improvising, but wanting to compose serious music.

The older Wilson is played by John Cusack, an interesting performance, initially appearing quite normal but also with some oddities. We are introduced to him as he tries to buy a luxury car, fascinated by the woman selling the car, his future wife, Melinda, played by Elizabeth Banks. However, it soon emerges that he has had mental illness difficulties, is under the very strict supervision of psychologist Dr Eugene Landry, Paul Giamatti) whose diagnosis is paranoid schizophrenia.

The structure of the film moves from one time period to the other and back again, the experience of the younger Brian Wilson throwing light on his later experiences. Wilson has a sense of responsibility for his brothers, being the oldest. But he also has very strong issues with his father, whose strict attitudes have not encouraged Brian with a good self-image. There are scenes with his father, his father putting him down, especially listening to the composition of one of his songs and, later, selling the copyright to all Brian songs.

The later part of the film has a courtship between Brian and Melinda, their falling in love, but Brian always cautious and the doctor continually intruding, wanting reports of all activities. Ultimately, this is too much and Melinda moves in bringing Brian out of the shadow of the doctor who does not hesitate to enter a vicious and vigourous fight, targeting Melinda.

At the end of the film, there is a resume of what happened to Brian Wilson after this, especially his marriage to Melinda, his acknowledgement of the help of his first wife, and his relationship with all his children. He is also seen as being successful in composing his music, performing it in 2004, and being considered a significant figure in the development of American music.

1. The story of Brian Wilson? His music? His mental illness? His overcoming problems? Achievement? His work with the Beach Boys, composing so many songs?

2. Audience knowledge of Brian Wilson? The popularity of the songs, the rhythms and the beat? The illustration of the different songs, the beach bingo type of background, Fun, Fun, Fun? His mental illness and its effect? His recovery?

3. The structure and the two time periods in Brian Wilson’s life? Paul Dano as the younger Brian? Appearance, manner, eccentric, the introduction and the voices behind the credits, the music in his head, compositions, the songs are his brothers, he is joining in performance and enjoying it? Not travelling on tour, not to Tokyo? The bond with his brothers, being the older and protecting them? The story of their mother and her drinking? The father, his severity, especially with Brian, his listening to Brian’s song and his disdain, undercutting reputation? Physical brutality? His still wanting a family? The scene where he tells Brian that he had sold the rights to all the music? The harsh influence on their lives?

4. The portrait of the older Brian Wilson? John Cusack’s performance? Going into the car sales, the encounter with Melinda, the attraction, sitting in the car, the discussion, explanation about himself and the bodyguards, the attraction to Melinda, wanting to buy that car? Eugene Landy and his legal protection and custody of Brian? Depriving him of his rights? The others in the entourage, bodyguards, the role of Brian’s brothers? Landy his diagnosis, paranoid schizophrenia, the medications, the control and domination, friends having to report all activities? The consequences for Brian? Three years in bed? Hearing voices? Lacking self-esteem? Memories of his father? His ambitions for his music?

5. Melinda, mention of her career, as a model, selling cars, a good relationship with the boss and his helping her? Brian, the sale, the puzzle, attracted, going out, the discussions, learning more about him, the bond, liking him, loving him? Land will y and his dominance, demanding that she report everything to him? Her helping Brian with his decisions, to cope, falling in love? Landy’s hold over Brian, Melinda not seeing him, his coming again, renewing the relationship? The taking stands? Helping Brian, the legal aspects, Landy and his coming to the car sales, his severe outbursts, abuse of Melinda?

6. The later information that his licence was lost, forbidden to have any influence on Brian? His character, motivations, diagnosis, the scenes of care, his manipulation and being demanding?

7. Brian, his music, his brothers, writing the songs, hearing the music in his mind, testing his song with his father, the details of his composition of the song? His being at home in studios, liking the musicians there, the melodies, the various keys, the instruments, the improvisation? The quality of his compositions? His working on his album over the years?

8. The effect of his illness, withdrawn, the issue of his voices?

9. Brian and his revival, Land willy out his life, marrying Melinda, memories of his marriage to Marilyn and the good that she did, his daughters? Marrying Melinda and living with her and the children, happiness, into the 21st century?

10. The credits, Brian Wilson performing, information about his achievement, by 2004, acknowledging his genius?

11. How well did the film work as a biopic, portrait of Brian Wilson, mental illness and its effect, a love story, US music story?

JUPITER ASCENDING

US, 2015, 127 minutes, Colour.
Mila Kunis, Channing Tatum, Sean Bean, Eddie Redmayne, Douglas Booth, Tuppence Middleton, Nikki Amuka- Bird, Maria Doyle Kennedy.
Directed by Andy Wachowski, Lana Wachowski.

The title raises cosmic expectations but we are amazed to find that Jupiter is really a Russian girl who works with her mother in Chicago housekeeping, seemingly with a special flair for cleaning toilets. Well, it emerges that she is not really just a Russian girl whose father was an idealistic astronomer, her bloodline, her DNA, whatever her ancestry, means that she is a Queen of the universe, which put her more in peril than enjoying the trappings of royalty.

When the Wachowskis were working in their heyday, inventing The Matrix and developing its sequels, they were developing images and narratives which had some philosophy behind them, the nature of the cosmos, the nature of this world, parallel worlds, communications and interconnection, computer structures, the conflict between good and evil. Well, there is something of that in Jupiter Ascending, but more in a comic book kind of way rather than in relationship to any Matrix. Actually, in The Matrix, there were quite a number of unusual and symbolic names, Neo, Trinity, Morpheus - and the more prosaic Agent Smith.

One of the interesting features of Jupiter Ascending is the contrast between the worlds out there in deep space and beyond with the mundane realities of Earth in Russia and the United States. We can identify in a large way with the Earth sequences, but we look in amazement, with more than a touch of the jaw-dropping, especially in the 3D version, at the vast, almost cathedral-like buildings in the cosmic kingdoms – and which also look spectacular as they break, crumble and fall.

Space agents try to abduct Jupiter but she is rescued by Caine Wise, one of the cosmic policemen, who has ambitions for promotion, but is on hire to the various princes who rule and clash in space. He is played by Channing Tatum, looking ultra-solid, with beard, but relying on his quite impassive face for his dramatic sequences, even romance with Jupiter. He takes Jupiter to hide with Stringer (Sean Bean), but the forces from the kingdoms, some of them variations on giant animals, giant brutes, whisk Jupiter away and imprison Caine.

It turns out that these kingdoms have been harvesting humans for millennia and two princes are in fierce clash mode about who will own the earth. As with so many American films, these two villains are played by British actors, Douglas Booth (recently Romeo in Romeo and Juliet) who is the playboy type, contrasting with his more sinister brother, played by Eddie Redmayne, pre-Theory of Everything, mainly communicating in whispery voice but prone to sudden roaring. They also have a sister who keeps young- looking by bathing in the harvested energy from Earth.

When Caine Wise is imprisoned, he faces the challenge of what his future is to be and whether he is capable of loving. He is. And so, to a spectacular rescue sequence, flying and falling around the vast cathedral spaces before their collapse – and Prince Eddie Redmayne falling into the depths.

By the end of the film, while it is good to look at, one asks of this rather bombastic production, to what purpose?

1. The impact of the film? Plot and vision of the universe? Picture of the humanity? Authority, the, concrete, exploitation?

2. The impact of the officials, sets, costumes, decor? The vast buildings in space, Cathedral like, the planets and the space ships? The influence of other films like Star Wars…? The musical score?

3. The contrast with life on Earth, ordinary? Russia, astronomy, marriage and family? The thugs, the robbery? The contrast with Chicago, apartments, menial housework, the employers Western Mark the fertility Centre?

4. How credible the plot? Fantasies? The previous work of the writers-directors?

5. The Russian story, the father and his enthusiasm about astronomy, meeting his wife, her work, the marriage, the baby, ordinary life? Prospects? The effect of the attack, the robbery, killing the father? The family migrating to Chicago, their life there, for 45 in the morning, going to work?

6. The kingdom is in space, age-old, harvesting earth, getting energy, making profit Western Mark the capitalist mentality, autocratic? Titres and here’s sleuth the sulphur-confidence, memories of his mother, surrounded by women, hedonistic, the plots and ambitions, lifestyle? His sister, her age, bathing for renewing her youth and beauty? The contrast with a firm, his sudden appearance, thin, whispering, cruel, greedy, wanting to own the earth?

7. The range of strange creatures, on the planets, attack monsters? Appearing on earth, the attack on Kate, pursuing Jupiter, Jupiter and her friend, the plan for the fertility Centre, the aliens taking over the staff, the attack on Jupiter, Bailey wanting her?

8. Came Wise, warrior, status, the police, his ambitions for promotion, constructed? His coming to rescue Jupiter? His going to Stinger? Missions, employed by Titus, tracking Jupiter, saving her, hiding her with Stinger, his clashes with stinger Stinger, plates? The back story? Going back to the planets?

9. The role of Jupiter, dna, DNA, the connection, the Iranian her being the Queen? The title and the reactions? The creatures and their voices? The courtiers and their role, advises?

10. Jupiter in space, determined, fighting, wanting to go home? With Wise, with Stinger? With Titus, his plan, the sister? Ultimately with a lemon? The children and their attitude towards their mother, wanting to kill her, the motivation, Jupiters confrontation and defines?

11. Wise, his attacks, the fights, imprisoned, his determination, getting out, Stinger advising him that he had falling in love, the change in him?

12. Seems of daring action, complex, the collapse of the buildings, apocalyptic?

13. The contrast with Jupiter back home, continuing to work, Wise and his sprouting wings? The future?

14. Big, bombastic – to what purpose?

BRITISH INTELLIGENCE

UK, 1940, 61 minutes, Black and white.
Boris Karloff, Margaret Lindsay, Bruce Lester.
Directed by Terry Morse.

This film was released in January 1940, only a few months after the invasion of Poland and the outbreak of World War II. It has a World War I setting but clearly it is the beginning of propaganda material for World War II.

Apart from the usual jokes that British Intelligence is an oxymoron, this is actually quite a good film, running only an hour, but highlighting the war with a strong opening collage of action, moving to hospitals in France, plans to rescue him from behind enemy lines, and information getting to the German high command through spies, in this case, the gardener listening in at the window and sending a message by carrier pigeon.

The nurse at the hospital, Margaret Lindsay, is next seen at the German high command being given a special commission to work as a fifth columnist in England, making contacts with other German spies and designated to work under the leader of the German spies in England. She is given credibility, because of her background story of her parents being killed and her being in the camp; he has received by a prominent British family, with strong political associations. And the young man, commissioned for the rescue in France behind the lines, was the man that she tended in hospital: and he is the son of the family where she is boarding.

Key to the film is the presence and performance of Boris Karloff, almost a decade after his Frankenstein. While he is quite recognisable, he affects an English accent with French intonations and is seen to be collaborating with the British government. While one suspects that Margaret Lindsay is also a cover agent, she makes contact with the Boris Karloff character who is the butler in the house where she lives. There are also connections with some prominent British men who are spies.

There is an interesting scenes, for instance, when Margaret Lindsay goes to an office and the secretary, who is a spy, communicates a message by the tapping on the typewriter, using a tap code.

As might be expected, Boris Karloff turns out to be not only an undercover agent, working for the Germans, but the head of the spies in England. And, as might be expected, especially when the young man turns up for leave at his family home and meets the girl, and he is suspicious of her, she turns out to be a British double agent.

Only a small film, produced in the United States, but the kind of film that was alerting English-language audiences on both sides of the Atlantic that they needed to be careful and of the work of double agents.

The film was directed by Terry Morse, who directed a few films but was an editor from the 1920s to the 1970s.

1. An interesting film? 1940? American perspective on the war? British perspective after the invasion of Poland? Espionage? In the context of World War I?

2. The collage of the fighting in World War I? The effect of opening? Scenes in France, the military, the hospitals, rescues, aerial shops? The contrast with London, homes, war offices, the background of espionage? The musical score?

3. Boris Karloff as the spy, working as a gardener in France, communicating the information about the rescue? His being in England, the butler at the house, his back story, his broken French accent? His manner, his being the efficient and effective servant? Relied on? The irony of the revelation that he was in contact with the British authorities? Double agent? With Helene, her cover, wanting to meet the overall superior, his final revelation that this was he? His being taken?

4. Helene, in the hospital, with Frank, the affection? Audience response to the scene with the Germans, her complete loyalty, and being given orders, her back story and the camp, with the family, being accepted, fitting in, listening in, the code with the typewriter, the messages at the office, people watching her? Her contact with the butler, her loyalties, his explaining things to her, Frank arriving home, his suspicions – and the revelation that she was a double agent for the British?

5. War in France, action, the hospitals and care?

6. War in England, the politicians, the diplomats, the discussions, espionage?

7. Double agents, Boris Karloff and his role, the respectable man receiving Helene into England, his not being on the plane, his being suspected, arrested? Helene and her double role?

8. An effective spies story, a World War I setting, with morale boosting speeches for World War II – all within an hour?

MYSTERY LINER

US, 1934, 62 minutes, Black and white.
Noah Beery, Astrid Alwyn, Edwin Maxwell, Gustav von Seyfertitz, Cornelius Keefe.
Directed by William Nigh.

This is one of the many supporting features, running an hour or so, that was so popular in the first part of the 1930s, generally murder mysteries, generally gathering of people in a confined space. This time it is on a liner and a cruise.

It is not one of the best examples of this type of film, a touch more corny and less exciting. It does gather a group of people on the boat before it sails, especially with Noah Beery as the captain affected mentally by some poison and reluctant to hand over his authority to the up-and-coming sailors, one of whom, it is later revealed, is a spy.

The point of interest is that a special technology is being set up, tele-communications, a television screen on which people can write and give directions, and ultimately control the sailing of the ship with those on board not having to do anything. It is kept in the secret room and, needless to say, there are spies who want to take possession of it. Their attempt on the captain fails, but the spy who is acting as captain is actually killed. There are various suspects – but, Major Pope, who was almost taking charge of everything turns out to be the villain and the killer.

As usual, there is a romantic subplot between the assistant captain and the nurse was looking after the captain. There is a suspicious character, with a heavy German accent, who turns out to be an inspector for the government and saves the day. For comic purposes, an arrogant old lady who lords it over her somewhat inept grandson and toadies up to all the people she thinks are significant on board keeps coming into view, ultimately latching onto the Inspector.

The acting is of its time, not particularly startling, and it is interesting to note the developments in technology, with memories of ships and battles in World War I, and imagining better control which came into effect, of course, in World War II.

ROSEWATER

US, 2014, 105 minutes, Colour.
Gael Garcia Banal, Kim Bodnia, Dimitri Leonidas, Haluk Bilginer, Shoreh Agdashloo, Golshifteh Farahani, Claire Foy.
Directed by Jon Stewart.

Rosewater sounds too sweet a name to describe the serious events in this film. Before the final credits, there is a comment about rosewater, its being sprinkled on pilgrims during pilgrimages when they are particularly sweaty – and then there is a pretty picture of collecting roses and extracting the rosewater and scent from them.

But, it all becomes very serious, as an Iranian-born journalist returns home, covering the 2009 elections, staying with his mother, but suddenly accosted at her home and arrested.

He is Maziar Bahari, played with sympathetic intensity by Gael Garcia Bernal. Then the film goes into flashback, 11 days earlier when Maziar is packing in London, farewelling his pregnant wife in some tender scenes and flying to Tehran for his assignment. He is met at the airport by one of those enthusiastic taxidrivers who insists that you go with them. He is sympathetic to the opposition candidate, standing against the famous President, Ahmajinedad.

Maziar is taken on a ride around the city (with some genuine vistas of Tehran mixed with performance footage filmed in Jordan) and meets with a conservative young enthusiast for the President, with students who are not, who are lamenting their experience of repression and unemployment.

There are scenes of the election day, crowds and riots in the city, again some actual footage from the period intermingled with the performances. Maziar keeps filming and sends the material through to London, with the help of Lindsay Hilsum, BBC correspondent of the period, here playing herself.

And then we’re back to the arrest, which means that the second half of the film focuses on Maziar in prison, confined in solitary for almost 4 months, the film using the device of naming the number of days of his being in prison. He is interrogated in a cruel and violent way (but with the caution that his face not be damaged if he has to appear on television). He is also interrogated in a ludicrous way, the authorities having taken several DVDs including Pasolini’s Teorema, the Sopranos, a CD of Leonard Cohen songs, all of which are deemed pornographic. The food is poor and he is for a large part of each day blindfolded. The interrogations are held with him blindfolded.

The authorities, one of whom wears Rosewater scent, which covers the sweat of Maziar in his suffering, want him to admit that he is a spy, something which seems quite bizarre in the context, and especially for journalists working in such magazines as Newsweek as he was. The world knows that his confession is only a show trial confession – with footage added in of news coverage from around the world as well as footage of Hillary Clinton commenting on the situation.

The film uses a clever device of having Maziar’s father present in the cell, conversing with his son, becoming the consciousness of the son, offering standards, because he himself had been imprisoned because of Communist sympathies but had given the authorities nothing. The father advises his son to play on the weaknesses of his interrogators – and does so, quite comically, eliciting their curiosity about sexual massage descriptions. At another stage, his sister appears in his cell – she had been executed.

While the story is interesting in itself, a lot of detail is given so that we share the experience. It is a strong critique of repressive measures, legislation, imprisonment in Iran.

The film has been written and directed by television host for The Daily Show for so many years, John Stewart. In the film there is a scene, made for The Daily Show, where Maziar has a mock interview in Tehran with a comedian posing as a spy journalist which the authorities take up, believing it is actually true. Later, Maziar was to write a memoir of his going Iran, his time in prison, his return to journalism and the birth of his child. John Stewart is drawing on his experience as a television current affairs host, the episode on his program, and adapting as Banari’s book.

This is quite compelling, all the more so because it is based on reality, but a reminder of what so many journalists experience in the contemporary world, arrest and imprisonment, even torture and execution, by repressive powers.

1. The title, the opening sequence, the collecting of the roses, the sprinkling of the rosewater in the rituals, Maziah’s memories, the sweat and the scent, the meaning of the title, as applied to the interrogator and his scent, Maziar and the interrogations, his fear and sweat?

2. Based on a true story, documented, the television footage, the actual characters of the comedian, Lindsay Hilsum of the BBC? The book, the adaptation?

3. John Stewart, his career, in film, The Daily Show, the initial joke for his show with the alleged spy? The connection with Maziar, his personal interest in the story, Iran, the elections, the ideologies, the imprisonment and torture?

4. The aim of the film, re-creating situations, the biographical aspects, the work of the journalist, the history of the family, of protest? The critique of the Iranian regime? The challenge to the audiences? Iran, the opening, the rest of Maziar, staying with his mother, the attitudes of the men arresting, taking the computer, cuffing Maziar, the car and looking at his mother, taken to prison?

5. The insertion of the flashback, United Kingdom, his packing, his wife pregnant, the tenderness of the scenes between them, anticipation of the baby? His working for Newsweek, covering the elections of 2009? Enough information for audiences, the two candidates, the history of President Ahmadiniejad, the stances of the people? The four years of the current regime?

6. Life in Iran, its reputation, the background of the Shah, the revolution, Ayatollah Khomeini, Ahmadinejad, repression, the population accepting this or not, the young and the old, the various interviews, the conservative young, the students and their protest, their studies, the grants to the older children and their smoking pot? Issues of jobs? The blunt responses, giving their names? The satellite dishes on the roof – and their later being smashed? The atmosphere of terror?

7. The arrival at the airport, the taxi driver, his talk, his sympathies, the photo, offering to be Maziar’s driver? The bike? taking him around, meeting the various people, the conservatives, the progressives, all filmed?

8. The history of the family, his father, long imprisonment, Communist background, giving nothing to the authorities? His sister and her execution? The device of having them appear with Mazia in the prison? The dialogue between father and son, his standards? The device of the father being the consciousness of the son? The pathos of the scene with his sister?

9. The comedy episode, the pretend spy on The Daily Show – being filmed, Maziar saying the US and Iran had a common enemy Al Qaeda?

10. The elections, the crowds, the reports, the results, the suggestion that the election was rigged? Rioting in the streets? The shootings? Maziar filming?

11. The eagerness with the footage, Lindsay Hilsum as the real correspondent with the BBC, the editing, sending it through to London, the broadcast?

12. The film going back to the arrest, the cell, solitary, the blindfold, the rough treatment?

13. Almost 4 months, the device of naming the number of days? The effect?

14. Treatment, violence, physical, psychological, the beatings? Isolation, hearing outside? The bad food? The interrogator and the demands, his own background, Rosewater, the man in charge and caution about beatings and Maziar’s face not marked for television? The collecting of the DVDs and
magazines, stating that Teorema, Leonard Cohen’s song, The Sopranos were pornography? Accusations of spying, orders, preparing the confession, Maziar and his dilemmas, finally signing? The pressure from his father? Going out into the s or un, the reasons for his decisions and signing, rigged trial? Going on television, the plainness of the confession? Going back to solitary, being punched, the temptation to break his glasses and slit his wrists? The amusement of his dense?

15. The news, the, collage of actual international footage? Hillary Clinton and footage and her appeal?

16. His father urging him to play on the weaknesses of his interrogators, the phone call to his wife, their expectations that he would control his wife and her opinions? The response? His life in, spinning out in detail of the massage stories and the interrogator being interested?

17. Wanting him to be a spy? His immediately signing the document, getting out, his mother meeting him? The final reactions of the interrogators?

18. His mother, in the plane, going to his wife, photographing the birth of the child?

19. Iran, 2009, the change of government in 2013? The regime, standards, religious background, no democracy, imprisonment, cruelty? The tenets of Islam, the laws of Allah? Treatment of prisoners? The film and its critique?

20. The film and its comments on the United States in comparison with Iran?

THE INTERVIEW

US, 2014, 112 minutes, Colour.
James Franco, Seth Rogen, Lizzie Kaplan, Randall Park, Diana Bang.
Directed by Seth Rogen, Evan Goldberg.

It actually says at the end of the film that it is a work of fiction has no relationship with any person or any place. That, certainly, is a fiction.

At the moment, it is very hard to consider the film without relating it to the hacking of Sony Pictures and suspicions that this was the work of North Korea, as well as all the difficulties about its distribution and the controversies that its theme raised.

What it is, of course, is a political spoof. Given the record of writers Seth Rogen and Evan Goldberg, and taking a clue from the title of their comedy, Superbad, it lives up to their particular context of comic style, a great deal of corny lines and situations, some verbal humour, sometimes crass, sometimes toilet, an American sense of humour that caters for the funnybone of 12-year-old boys of any age!

Seth Rogen does his usual shtick as, perhaps a little more sympathetically this time, jovial, sometimes petulant, a big bear of a man. He plays a producer of a very gossipy talk program, with contents more like the scandal mongering articles of The National Enquirer. The interviewer, Dave Skylark, is played by James Franco, obviously enjoying himself, all grins and laughs on air, pausing in the interviews as he listens to his producer in his earpiece. The satire is immediately evident with an interview with Eminem, discussing the lyrics of his songs which indicate that he is gay. Then there is an interview with Rob Lowe, his baldness and taking off his hairpiece.

Just when Aaron is wanting something better in his life, the call comes through from North Korea official to say that the President, Kim Jung Un, is a great fan of the program and that an interview in North Korea would be welcome.

And this is where the spoof becomes serious, as the two go to the CIA and are granted permission as long as they agree to assassinate the President. While this might seem to be funny and satiric in its way, there seems to be a subtext which is very pro-American, taking for granted that this kind of assassination behaviour is reasonable, given the enemy status of a particular country.

The rest of the shenanigans are in North Korea, the couple’s arrival, being settled in a lavish hotel, checking whether it was bugged or not, having meals, when, suddenly, a particularly serious authority sees the means of poisoning the President and is told it is chewing gum, which he immediately choose (death throes are delayed till the next day). The television producer assigned the program is particularly serious though she has a change of head and heart, falling for Aaron, falling out of devotion to the President.

One of the most effective sequences is Dave Skylark being called to chat with Kim, being shown the inside of an old tank, learning that the president likes Katy Perry’s music and lyrics, has had difficulties with his father, and is prone to a tear or two. Dave is drawn in as, perhaps, we are. It doesn’t always remain that way, once Dave discovers with plastic fruit which means that, probably, the President is lying and is as bad as he has been painted and that life in Korea is terrible.

While the interview goes ahead, Dave is much more serious than in his usual program which means then the soldiers are anxious to cut the program, the president is limited by what is happening, soldiers have the guns at the ready, and Aaron and the producer have to cut and run.

There is always a place for spoof, and, if the North Koreans had a good sense of humour, they could obviously make a parody of American government. But, the American assumption, that heads of state can be eliminated when necessary, means that below the surface, there is some serious and ruthless American patriotism.

1. The film in itself? In the context of the controversies about hacking, North Korea and the US, Sony Pictures?

2. The films of Seth Rogen and Evan Goldberg, styles of comedy? Superbad? Corny, childish, crass, physical, verbal? The musical score?

3. The idea, the assassination of a world leader, assassination attempts, in fact, plans, the CIA, agents, authorities, infiltration, action, extraction? Serious and spoof?

4. The final statement about the film being a fiction – and no resemblance to any real characters?

5. The opening with the patriotic song, the little girl, the fierce anti-Americanism?

6. James Franco as Dave Skylark, his character, a caricature of the television interviewer, on air, pauses and smiles, plenty of grins, Aaron’s words in his ear, the gossip focus, the accusations of shallow entertainment? President Kim enjoying his show?

7. The interview with Emine, straightfaced, the lyrics, gay, Aaron and his excitement, a television exclusive? The interview with Rob Lowe and his baldness? Joseph Gordon Levitt?

8. Aaron, his work, as a person, his staff, his role as a producer, meeting his friend from study days and his rise in the television world, the offer of a job, just kidding? His dead-end career?

9. Information about Kim, the phone call, the North Korean authorities? The idea for the interview? Going to the CIA, the endorsement?

10. The briefing, both serious and comic, an agent Lacy and her severity, the plan for the assassination, the poison on the hand, the handshake? The jokes in Korea, the authority chewing, thinking it was chewing gum? Parachuting the new supplies? Aaron going out in the dark, Dave and his communications, Agent Lacey and her comments, the screen at the CIA headquarters? The tiger? The irony of Aaron and the sexual encounter with Sook and not using his hand?

11. The rival, the welcome, the hotel, checking whether it was bugged, the plans, the officers and their serious approach, the meal and the chewing gum? Sook, authoritarian, the plans for the interview, the attraction to Aaron, the sexual encounters, her not liking the Leader, her plans to sabotage the interview?

12. Dave, meeting with Kim, serious, the music and lyrics of Katy Perry, talk about his father, and issues of homophobia, audience sympathy with him? Going into the tank, the explanations, playing the gun?

13. Dave, discovering the artificial fruit, disillusionment? Planning the hard interview?

14. The officer, the meal, his being sick and dying?

15. The interview, Kim, agreeable, David and the unexpected questions? Kim’s change of attitude, his attacking Dave? The reaction of the authorities, wanting to stop the program? The CIA watching it?

16. Aaron hand Sook, the shooting, the soldiers, the escape?

17. Dave, his being shot, on television, the bullet-proof vest? Making sure that he took the dog, Kim’s gift of the dog?

18. The tunnel, getting out, the irony of the South Koreans taking them to safety?

19. How serious the pro-US subtext, endorsing the possibility for assassinations? Making the spoof rather more serious?