THE BACKWATER/TOMOGUI

Japan, 2013, 102 minutes, Colour.
Directed by Shinji Aoyama.

The Backwater is a social and sexual drama, set in a remote town in Japan. It creates the atmosphere of the town, homes, shops, school.

However, the focus is on a young man turning 17, son of a father who is violent, especially in sexuality. The boy follows his father’s example, he also fears it. His parents are divorced, having met during the war, his mother separating herself from her husband but continuing to manage a shop in the town. The young man becomes involved with a fellow student, experiencing something of love, but also a liaison with his father’s new wife, who also wants to avoid the sexual violence.

His mother wants to protect her son, ultimately killing her husband and giving herself up to a prison sentence.

The Japanese have a tradition of exploring this kind of thing, even in extremes like In the Realm of the Senses and Empire of Passion.

1. The title? Indicating the town, the water itself, the remoteness of the town, people isolated?

2. The locations, the town, the, the shop, the water? Authentic feel? Musical score?

3. The narration, or experience, Shinko and her suffering, the loss of her hand, the artificial? The father, his roughness, with women, the brutal touches, the relationship with Shinko, the birth of their son? His growing up, his life, relationships, sexual drive?

4. The background of violence, sexual violence and abuse, fears of inheriting these drives?

5. The boy, aged 17, his birthday? His relationship with his father? His relationship with his mother? The stepmother? His relationship with his girlfriend? The sexual impulses, his fear of being violent like his father? The stepmother, sexual?

6. Shinko, the divorce, the brutality, the official, her work, love her son, discussions with him, wanting him to take over? Her giving advice? The effect of her husband’s brutality? The build-up, her decision to kill him, the stabbing, her being arrested, the interrogations? Her future?

7. The boy, the sexual experiences with his girlfriend, her pain, her concern, his concern? Her leading the town? The effect of the relationship on her, on him?

8. Stepmother, pregnancy, wanting to be pregnant so that her husband would not be brutal to her? Her being with the boy? The death of her husband, the consequences?

9. The details of life in the town, fishing, the market, sales? Her life, home life and the ordinariness? A context for violence and brutality?

10. A glimpse of life in this Japanese village?

CUBE 2: HYPERACUBE

Canada, 2002, 97 minutes, Colour.
Kari Matchett, Geraint Wyn Davies, Grace Lynn Kung, Matthew Ferguson, Neil Crone, Barbara Gordon, Lindsey Connell.
Directed by Andrzej Sekula.

The Cube series has a special place in regard by horror buffs, solvents fiction buffs, terror fill buffs.

The first film takes place entirely in a giant cube, in moving rooms which have cube designs everywhere. Each cube has cube designs as well as doors which can lead to safety with the right interpretation or to disaster and death. A group of people find themselves in the cube, sometimes cooperating, always with the will to survive, with a dominant policeman, Quentin, taking charge but ultimately becoming a destroyer himself. And the end of the film is quite nihilistic.

The second film is situated in a cube which is called a hypercube. Once again there is a group of strangers, sudden deaths, moving rooms. Once again, the group help each other, clash with each other, some killing some of the others. However, this time there is an explanation, a focus on a large weapons factory, and experiments, and the elimination of those who do go the tests.

The third film, Cube Zero, goes once again inside the cube but it is the story of rescue, with some scenes outside the cube but offering some interpretations of explanations of the whole series..

1. The title? Beyond Cube? The terror film? The new variations?

2. The cube and its workings, the variety of rooms, destructive? The moving rooms? The numbers, interpretation, timecode? The colours, art, shapes, the doors?

3. The director, his work, as a director of photography, the look of the film? The musical score?

4. The prologue, Becky, in the cube, the opening, and her death? Her later reappearance? Simon and his quest to find her, his killing her, motivation?

5. The ultimate explanation, the clues throughout the film, the weapons company, defence, experiments and tests, computer games and ideas, technology, the buying of ideas and legal protection, mathematics and design, codes? The revelation that Sasha was the genius? The authorities, her being a whistleblower, issues of time, space, the fourth dimension and Jerry illustrating it, leading to parallel worlds and the characters encountering each other, live and dead? Kate and her role, the fight for survival, her recording what went on, reporting to the authorities, military, the phone call, her being shot?

6. The colonel, the attack on him, his briefcase, his hanging, the group rescuing him, seeing him hanging later?

7. Kate, strong, her back story, the alleged disappearance, competence, personality, leader, the sympathy for Sasha? The discussions with Jerry? The clashes with Simon? Helping with the escape, leading, the experiments, seeing the double, time and the parallels?

8. Simon, tough, private investigator, revealing later the search for Becky, his experiences, attitudes, confrontational, the scene of his death and his seeing it, his killing Mrs Payley? The antagonism with Jerry? Jerry’s death, his reappearance, the discussions? The number of watches? The number and the timecode?

9. Jerry, ordinary, his knowledge, helping with the building, with ideas, explaining the fourth dimension? His being sliced? The watches, his reappearance? A more sympathetic character?

10. The finding of the dead scientist and Mrs Paley and Max identifying him?

11. Mrs Payley, sudden appearance, death, searching for dog, not wanting an operation? Remembering the past, her knowledge of the dead scientist, work with weapons company, the work, and being killed?

12. Max, younger, sudden appearance, computer games, his knowledge, scepticism? The encounter with Julia, the sexual encounter, their deaths? The entwined corpses?

13. Julia, the party dress, and knowledge, the discussions with Max about his copyright law, the attraction, the kiss, entwined in death?

14. Sasha, blind, helpless, Kate and her sympathies? Sasha’s uncertainties, sounds? The discussion about the genius who designed the cube? The revelation that she was the genius? Whistleblower? Ultimate victim?

15. The blind terror, signs, mathematics, the military, conspiracies, tests and deaths?

PAID IN FULL

US, 2002, 97 minutes, Colour.
Wood Harris, Mekhi Pfifer, Kevin Carroll, Esai Morales, Chi Mc Bride, Regina Hall.
Directed by Charles Stone III.

Paid in Full is an African- American story, designed for the African- American audience at the beginning of the 21st century, especially in New York City. It is the kind of story that has been repeated in many such films, the focus on inner-city New York, the harsh neighbourhoods, the combination of the ordinary life of citizens with the story of drug dealing and its effects.

The focus of the story is a young man called Ace, played by Wood Harris. He lives something of the simple life, working in a dry-cleaning shop, with the manager being something of a mentor. He has a number of friends his own age, especially Mitch, who deals drugs and spends some time in prison. Surprisingly, when Ace finds drugs in pants at the dry cleaners, he makes contact with a local Hispanic drug Lord, Lulu (Esai Morales). Before long, Ace exhibits great shrewdness and business dealing, and becomes something of a celebrity in the neighbourhood. While he still keep in contact with his friends, it is inevitable that clashes will erupt, that there will be violence, that there will be deaths.

There is a great deal of background story as well, depicting the lives of people in the neighbourhood, some ordinary aspects, relationships, but always a feeling of tension, and the all pervasive influence of the drug dealers and the consequences of drug dealing.

Wood Harris gives an interesting performance as Ace.

DOBERMAN

France, 1997, 103 minutes, Colour.
Vincent Cassel, Tcheky Karyo, Monica Bellucci, Romain Duris.
Directed by Jan Kounen.

Doberman was something of a cult film for audiences and reviewers when it was released linked to the films and style of Quentin Tarantino. Offbeat criminals, grim violence, often stylised, and a black sense of humour, and something of a cynical presentation of both criminals and the sadistic police chief in pursuit of the criminals.

The film is directed by Jan Cloonan, who directed Vincent Cassel in the unusual western, Blueberry, and, in a different tone, Coco Chanel and Igor Stravinsky. Cassel was making an early appearance in film after his impact in La Haine two years earlier. He is a commanding screen presence and in his subsequent career could play loathsome characters, historical characters, and sometimes sympathetic characters. He appears in this film with his then wife, Monica Bellucci. Tcheky Karyo is the intense police inspector, unscrupulous in his his pursuit of criminals, especially Doberman.

The film begins with quite an odd prologue. It is a baptism sequence, criminals in attendance, guns as gifts. The ceremony is performed by a strange priest, difficult to know whether he is authentically ordained or not, although throughout the film he stops to pray and has rosary beads as well as the Divine Office. But is an integral part of the gang, and quite unscrupulous.

The young man grows up, as a heritage of gangster life, has little fear of danger to his own life. In some ways, is a comic-book character, in appearance, little character within except of recklessness that leads him to crime, robberies, killings.

The centre of this film is a bank robbery and the getaway. The police chief and his assistants, whom he treats violently, are in pursuit, take the law into their own hands, and bear down on the criminals, especially Doberman.

After the robbery, there is the pursuit, chases, cars, bikes, through the city, in the countryside, a siege, some of Doberman’s associates being killed, and an ultimate confrontation, violent, between Doberman and the police.

While Tarantino admirers relish the almost-no-holds-barred approach to characters and action, the film is often very ugly and would be offputting to many audiences who do enjoy crime thrillers.

WHISPERS: AN ELEPHANT'S TALE

US, 2000, 72 minutes, Colour.
Voices of: Angela Bassett, Joanna Lumley, Anne Archer, Debi Derryberry, Kevin Michael Richardson, Alice Ghostley, Betty White, Joan.Rivers.
Directed by Dereck Joubert.

This is a short film designed especially for young children. Adult audiences might find it hard going. The story, the character, the characterisations, the voices are all designed for children’s responses and, with the accents and the cute tones, responses of American children. The moral and messages very clear, the film being against the hunting of elephants at the poaching of tusks.

The director, Derek Joubert, is a long time cinematographer, especially nature films, and has directed five features and documentaries, focusing on animals, lions, leopards, cats, elephants.

The story is that of the baby elephant’s mother’s death; the baby does not find a place in the herd until she is taken over by cantankerous aunt elephant, (Angela Bassett). The baby elephant finds it difficult to emit sounds and so is nicknamed ‘Whispers’. And Whispers as one of those cute American accents with American intonations. While Whispers is growing up, the little elephant does not entirely belong to the herd and Groove keeps herself somewhat aloof. As Whispers grows up, there are various adventures, with the other elephants, escaping coming of poachers. There are also threats from lions.

There is enough here for little children to be delighted, to understand the message – although some commentators suggested that they would be better off watching a proper documentary rather than this little and emotional story.

THE WATER DIVINER

Australia, 2014, 111 minutes, Colour.
Russell Crowe, Olga Kurylenko, Jai Courtney, Yilmas Erdogan, Dylan Georgiades, Dan Wylie, Robert Mammone, Isabel Lucas, Daniel Herriman.
Directed by Russell Crowe.

A fine film and well worth seeing, especially for Australian audiences. Released in the first few months of the centenary of World War I, and anticipating the centenary of Gallipoli, this is a film which will find a ready audience, middle-aged and older. It is also an effective film for younger audiences who are in the process of learning about Australia’s ANZAC past.

It is a tribute to Russell Crowe that he has made such a stylish film, with Andrew Lesnie’s beautiful cinematography, both in Turkey and in Australia, and an intelligent screenplay with the combined authorship of Andrew Knights and Andrew Anastasios. It is well edited, especially with effective insertions of flashbacks. The performances are all creditable.

The film sets a tone by starting in Turkey, at Gallipoli in 1915, at the end of the months when Australians were entrenched at the bottom of the hill with the Turks above them. We are introduced to the Turks before we are introduced to the Australians, with the reminder that while 10,000 Australians died in the campaign, 70,000 Turks were killed. A strong officer (Yilmaz Erdogan) is making decisions about an attack, sending a young recruit back to find his binoculars so that he is not present with the gunfire. When the Turks attack, they find the trenches empty, booby-trapped. The Turks consider it a retreat, the Australians a withdrawal.

It is only then that we go to north-western Victoria where we see Joshua Connor, Russell Crowe in a fine and dignified performance, doing his water divining, his sticks poised ready to follow their direction for water. It is 1919. Joshua and his wife (Jacqueline McKenzie) are living the grief of the death of their three sons who all volunteered to fight together. They are reported to have died together.

Joshua’s wife is in depression, wanting him to read the Arabian Nights to the empty beds of their sons, blaming her husband for their going to war. She drowns herself in the dam. This leads to a discussion with the local Irish parish priest who is severe in his pastoral attitude, applying the letter of the law to the burial of the suicide. When Joshua persuades him that it was an accident (or that he can assuage his conscience with that explanation), he suggests that Joshua donate his van to the parish – a reminder of mercenary attitudes mixed with severity.

Joshua decides to travel to Turkey to find his sons’ graves. British officials forbide any travel to the peninsula but there is an Australian group there trying to identify the bodies and bury the soldiers respectfully. The group is headed by Lt-Col? Cyril Hughes (Jai Courtney) who has welcomed the Turkish officer whom we saw at the beginning, along with his sergeant, to collaborate with the identification of the dead soldiers, Australian and Turkish.

In the meantime, a young boy at the wharf has led Joshua a lengthy chase through the busy markets and streets, to a hotel in Constantinople where the manager is the widow of a Turkish soldier, although she will not admit that he has died. She is hostile but her brother-in-law, who wants to marry her and adopt her son, welcomes Joshua. Joshua returns to the hotel several times, the young woman gradually mellowing, helping him, and the son enjoying Joshua’s being a kind of father-figure. Ayshe is played by Olga Kurylenko and the little boy, is a most engaging Dylan Georgiades. Steve Bastoni is the brother-in-law.

Audiences will be very moved by the sequences at Gallipoli, Joshua initially refused access then setting up camp on the beach after his arrival in a fishing boat, the Australian official and the Turkish soldier both helping him, with his date from his son’s diary and his map of Lone Pine and the action. Joshua is angry with the Turkish officer then comes to an awareness that both sides acted in the same way, especially as we see the close-up flashbacks of the cruel hand-to hand combat in the trenches. We are also shown the flashback of the three sons, two going to the rescue of the other, lying wounded on the battlefield.

The screenplay opens up another possibility for Joshua who has been ordered to leave by the British commander. He encounters the Turks who are gathering in a national resistance to the invading Greeks. Joshua joins the Turks on a train, which is attacked by the Greeks and the officers lined-up for execution – then, with some derring-do, they escape into a neighbouring village where there are discoveries to be made and an emotionally-wrenching experience for Joshua.

Russell Crowe has offered the Australian audience an opportunity to see the Turkish countryside, Constantinople, the clash between Turks Greeks, the effect of the war on the Turks and the consequences – even as his character is sometimes unwittingly insensitive towards Turkish customs, the place of women, honour codes among the men and, especially, with a breakfast episode and the Australian reacting to the Turkish food.

The past as 100 years ago and so many events have happened, including World War II, the current history of Turkey, interested in joining the European Union, neighbour to Syria during its bitter civil war, close to Iraq and Lebanon. This is the time to look back to the war, not only its heroism and self-sacrifice but also raising questions as regards the nature of war, motivations for war and the many futilities of war.

1. The impact of the film? Australian audiences? Turkish audiences? The British? Worldwide?

2. A stylish film, the complex screenplay, effective editing, beautiful cinematography, visuals? The musical score? Performances?

3. The Australian release at the time of the centenary of World War I, anticipation of the Gallipoli centenary? The myths of Gallipoli and ANZAC involvement? Sacred myths? the harsh realities? Australian deaths, Turkish deaths? The memories over 100 years and the different changes?

4. The locations, Turkey, the re-creation of Gallipoli, fighting in the trenches, the war graves on the beach? Constantinople, the beauty of the city, the Blue Mosque, the hotel, the busy streets and business? The train, Anatolia, the hillside village, the caves, the underground river? Authentic atmosphere? The Australian sequences, the water diviner in the country, the home, the church, the cemetery, the vicious sandstorm? The feel for the period?

5. The prologue, fighting at Gallipoli, from the Turks’ perspective, the commander, the sergeant, the fighting, the gunfire? The empty trenches? Booby traps? Later battle sequences? The command, the boy and the binoculars and his being saved? The Turkish perspective of retreat, the Australian perspective of withdrawal? The later scenes, vicious hand-to-hand fighting?

6. The father, 1919, Joshua, the scene of water divining, his skills, digging the well, the water? His wife lonely at home, reading the Arabian Nights, the sense of their the absence? The key word from the book, especially in the sandstorm, and in their dying of Gallipoli? The absence of the boys? The wife, depression and sadness, walking into the water, dying?

7. The priest, Irish, clerical style, not being able to bury the suicide? Joshua covering it as an accident? The talk, the donation, Joshua’s reaction? The cemetery, friends, the sadness?

8. His decision to search for the boys, going to Turkey, the difficulties and customs, the language? The little boy taking the case, the chase? Through the busy streets and the flavour of the city to the hotel, the hostility of Ayshe, his being allowed in? The boy, language? The room? His insensitivity to Turkish meals and wanting a boiled egg?

9. Ayshe, the situation, an Ottoman woman, her husband, fighting, denying his death? The boy with the photo of his father, asking Joshua find? Ayshe and her attitudes? Joshua defending her? The prospect of marrying her brother-in-law? Going out, covering her hair, Joshua at 20 paces behind? Her angers, being hurt? Her love for her son? Discipline, and changing in mind? The brother-in-law, the situation, his violence, Joshua fighting back? The young prostitute and her clients? Ayshe’s father, dementia, plucking the fowl, talking to Joshua as if he were a professor?

10. The British, the office, the officer, no permits to Gallipoli, his hard stances, the advice to Joshua about the fishing boat, his coming ashore? The officer at Gallipoli, the Australians with him, the commission about the search, the graves? A sympathetic man? Joshua and the fire on the shore, his being sent food? Joshua with his son’s diary, the dates? The arrival of the Turkish officer, the audience having seen him at Gallipoli, his sergeant? Sympathetic? Good relationships with Hughes? Joshua and his anger, his realising that both sides had deaths, both sides fighting in the same way? His apology, realisation about the war?

11. The Turkish perspective, the war dead and their numbers? Coming to Gallipoli, the mound of skulls, Turkish? The work, the graves, the officer riding the horse?

12. The search for Joshua’s son is, finding their bones, the grave and his grief? But satisfaction in knowing that they had been found and buried?

13. The flashbacks, fighting, going to rescue the brother, the deaths, the long dying and the brother asking to shoot him, Arthur’s anguish that the decision? Arthur’s disappearance, prisoner of war? Searching the graves, Joshua using his water divining techniques?

14. Constantinople, the secret groups, national feeling, against the Greeks, Joshua abducted, secret centre, the sergeant’s attitudes, the Turkish officer, his respect and Joshua, mutual friendship, his helping, the list of the prison camps?

15. The British attitude, ousting him? His return to the hotel, his becoming closer to Ayshe, the brother-in-law and his brutal telling of the little boy the truth? Joshua and his violence against the Turks? The British chase, over the roofs?

16. On the train, the information about the camp, the list from the Turkish officer? The attack by the Greeks? The Greeks attitude towards Australians? Executing the sergeant, about to execute the Turkish officer, Joshua hitting the Greek, getting on the train, taking the horses, riding to the village?

17. The motif of the dervishes dancing throughout the film? The village, seeing the windmill, asking information, going to the church, and Arthur’s painting the icons, the reunion, his feelings, blaming himself? The Greek attack, their decision, plunging into the river? The return to Istanbul, Arthur and the haircut, Joshua new clothes, the return to the hotel?

18. The prospects for the future, the final image of Ayshe, the final image of Joshua? The changed man?

19. The story of a mission, with faith, intuition? Achievement?

ANNIE

US, 2014, 118 minutes, Colour.
Quvenzhane Wallis, Jamie Foxx, Rose Byrne, Cameron Diaz, Bobby Cannavale.
Directed by Will Gluck.

Tomorrow, tomorrow, tomorrow… For many, that and its tune (which can run irritatingly around in the imagination), is the lead in into the popular Broadway musical, Annie, from the 1970s, filmed by John Hoston in 1982 and for television in 1999. And here we are again. Interestingly, the trailer for this version does not emphasise Tomorrow but keeps repeating It’s a Hard Knock Life.

While most of the patrons in the theatre queues were grandmothers, mothers and little daughters, there were some little boys there who were about to experience A Hard Knock Life for two hours as they watched this movie! This is definitely a film for female sensibilities.

As indicated, the principal songs are there but there are also some new ones, generally very repetitive in the vein of all the songs, especially a montage of ‘It’s a New Life’, sung by several of the characters – over and over and over again. While still on complaints, the lyric for Tomorrow “love ya tomorrow” is especially grating, repeated and over emphasised. It grates on ya.

Of course, there are things to enjoy in Annie.

The scenario has been updated to an affluent, technological, 21st century. And, instead of Daddy Warbucks, there is now Will Stacks, an entrepreneur with phones and technology who decides that he should run for Mayor of New York City. He is played by Jamie Foxx. The Oscar-nominated young actress, Quvenzhanie Wallace, for Beasts of the Southern Wild, is more than the Moppet, Little Orphan Annie (she is determined not to be an orphan here because of a note from her disappearing parents and her stating that she is a foster child). This Annie is full of life, not for a moment lacking in self confidence. She is the life of the party at the orphanage, a chief antagonist for Miss Hannigan, the failed and would-be alcoholic actress who is in charge of the girls.

Where can all this go? Annie sits every Friday night the Domani restaurant (Italian for tomorrow!) because their note says that this is where they will come. She sits in vain. What will become of her?

In the meantime, Sticks who has few social graces, few touches of personality for a political campaign, is being fed information and lines by the devious Guy (Bobby Canavale) a go-getting political adviser. Sticks also has a personal assistant, Grace or from, Oxford, who tries to be a minder but, without realising it – and sometimes are not realising it - she is really in love with Stacks. She is played by Rose Byrne.

The key to the future is in Annie’s running across the street, almost run over, but saved by Stacks, everything captured, of course, on a passer’s-by camera. What better for a campaign? With the idea that Stacks hold a press conference, with many photo opportunities with Annie, stacks invites her to stay with him. Annie has never seen such luxury – it is always forthcoming with her opinions at helping with the photo-opportunities..

The plot thickens with the intervention of the angry Miss Hannigan. In the past she has been played by Carol Burnett and Kathy Bates, but this time the usually glamorous Cameron Diaz opts for mugging. False parents are set up. Annie is deceived, Miss Hannigan repents. Grace is concerned. Stacks realises that life is not just business… And everyone hurries off in pursuit of Annie by car and helicopter culminating in an elaborate curtain-call song and dance routine on the streets of New York.

Not a great show. But a show that a lot of people have enjoyed.

1. Popular Broadway musical? The film version, the television version? Popularity with audiences?


2. Musical theatre adapted for the screen, outside locations, the songs in situations and characters, staging of the songs and dances?

3. The popularity of Tomorrow, It’s a Hard Knock Life? The new songs? The musical score?

4. The updating to the 21st century? The business world and politics? An African American version?

5. The cast, its impact?

6. Annie, her age, a foster child rather than Little Orphan Annie, in the house, life with the girls, her leadership, the clashes with Miss Hannigan, girls talk, chatter? The natural parents, their return, going to the Domani restaurant, waiting every Friday, the sympathetic manager, giving the food? The bond with the dog? The chase, her being almost run over, the rescue, the change for her?

7. Will Stacks, Jamie Foxx, Guy as his adviser, Grace as his minder, their work? His campaign, lacking charm? His background, success, phones, technology? His motivations, his campaign – and the glimpses of his rival and his comments? Not good with people, his gaffes?

8. Guy, research, suggestions, the touch of the Machiavellian?

9. Grace, from Oxford, her concern, care, the deep love?

10. Stacks saving Annie, the photograph and film, the social media, an opportunity, Stacks being persuaded? The press conference?

11. The decision to take Annie, the apartment, the lavish style, the bed, the food, the views of the city? Yet Annie on the floor with the dog? Her comments about photo opportunities? Her getting to know Grace, Grace supporting her, going to the Domani?

12. Guy, his going to Miss Hannigan, the plan, finding the substitute parents, their being trained, arrival, Annie at first believing, in the car, realising they were not her parents?

13. Annie, the effect, the couple of the car, bad-mouthing Stacks, Annie upset and disillusioned?

14. The character of Miss Hannigan, memories of her past life, the would-be actress, drinking, and harshness with the children? The changing, change of heart and conscience?

15. The role of the media, television, newspapers?

16. The chase, the helicopter, saving Annie, reunited with Stacks? Guy and his comeuppance? Miss Hannigan cheeriness? Annie persuading Grace that she loved Stacks?

17. The finale, singing and dancing in the street, cheerful ending for a cheerful film?

MR TURNER

UK, 2014, 150 minutes, Colour.
Timothy Spall, Paul Jesson, Dorothy Atkinson, Marion Bailey, Karl Johnson, Ruth Sheen, Lesley Manville, Martin Savage, Niall Buggy, James Fleet.
Directed by Mike Leigh.


It is not only asked lovers who know something of the paintings by J.M.W.Turner, paintings which he bequeathed to the nation as his heritage. We may remember seascapes, the Fighting Temeraire. What do most of us know about the artist himself, Billy Turner, who flourished in the first part of the 19th century?

This is a portrait of Turner as an artist, a cinema sketch of him as a man, offering an experience of him at work, getting to know something of his character, not always genial.


Years ago, cinemagoers might have been surprised to find that Mike Leigh was directing this film. However, after his great success in 1989 in bringing Gilbert and Sullivan to live in Topsy- Turvy, we know that Turner is in good hands and that this will be an exemplary experience of Britain in the 19th century as well appreciating the skills which Mike Leigh uses in bringing characters to intense life, their interactions, their conflicts, their gifts, their foibles.


And those who know Mike Leigh’s work will appreciate the contribution of actor, Timothy Spall, to so many of them, especially Secrets and Lies, All or Nothing. Spall, who spent some years practising painting in preparation for his performance, won the Best Actor Award in Cannes 2014.


We first see Turner in Holland, walking along canals, finding scenes to paint. We realise at once that what Leigh is doing is providing scenery and locations which Turner painted but also getting his cinematographer to recreate the colours, the light and shade, the clarity and the mistiness which characterise Turner’s paintings. This continues throughout the film, especially with scenes on the English Channel coast around Margate, the sea, the storms, the sand, the beaches. At one stage Turner ties himself to the mast of a ship sailing through an icy storm to live the experience.


And there is Turner, a middle-aged, pudgy character, with very little charm, but with good manners and a beautiful 19th-century English vocabulary and turn of phrase – for instance, he mentions he has something to cogitate on. One of his specialties is his capacity to grunt and growl. This is very noticeable in a discussion on art with a pretentious John Ruskin.


On the personal level, he is something of a recluse. He has fathered two daughters by the aunt of his maid, spurns them on their visits. And, regarding the maid, he treats her as a very menial servant and is not above using her as sex relief. It is when he goes to Margate and encounters a couple, especially an old man who had been a ship slaver, then is attracted to the widowed wife who supports him in a de factor relationship for many years, looking after his needs, referring to his pretty little pictures, looking after him in his illnesses and, especially, at his death. In his relationship with her, we see Turner at his personal best.


On the professional level, there is an interesting sequence at the National Gallery when he brings his paintings, as do all the other artists, to see where they will be hung for exhibition, in the main hall, or in the outer. He is placed next to Constable whom he does not admire. There is a painter, Haydon, who is rejected and who depends on Turner for some financial support. Not everybody appreciated Turner’s work, two ladies at an exhibition mocking him with their comments – and a theatrical scene from a play where Turner and his style are being sent up, not to Turner’s pleasure.


The fine cast includes Paul Jeeson as Turner's father, a former barber who, in his retirement, buys the paints for his son, is loud in his praise and to whom his son is devoted, especially in a sad death scene. Dorothy Hutchison is his maid, Marion Bailey is the widow, Ruth Sheen is the mother of his daughters and Lesley Manville is a sympathetic visitor with an interest in science.


The film runs for 2 ½ hours so there is plenty of time for us to observe Leigh’s portrait, appreciate Spall’s performance, and realise what an artistic genius Turner was with paintings that blend the classic with the modern and still draw our attention and admiration.


1. The reputation of J.M.W. Turner? Audience knowledge of him, his paintings and his style? As a person?

2. The films of Mike Leigh, social dramas, his re-creation of the 19th century?

3. The visual impact of the film, the locations which look like Turner paintings, the framing, the colour, the seascapes? 19th century? The 1820s and 1830s, the time of the King, Victoria and Albert? The number of artists, their styles, exhibitions? Homes and studios? Mrs Booth’s house at Margate, Margate and the surroundings? The Holland waterways? London and the streets? A picture of the times? The songs of the times? The musical score?

4. The screenplay presupposing Turner’s past, the focus on his father (the memories of mother, sister), his wife and daughters, his wife’s complaints, his not going to his daughter’s funeral? The loner, the dependence on his maid, his life and style?

5. Billy and his father, his father a barber, going to the shop, buying the paints, his son, pride in his son, joy? The family visit and his reaction, especially to his granddaughters? The visit of Mrs Somerville? The sharing of joy, excitement? His collapse, his death, Billy with him?

6. The maid, her age, appearance, doing all the work, the surprise of the sexual encounter and her response? Her relationship with Billy’s father? Looking after the visitors, her ageing, the sores on her face, going to Mrs Booth’s house to seek Turner, not going in, the film’s last image of her alone in the house?

7. Mrs Somerville, science, the prism, the needles and magnetism, science and art and Turner’s interest?

8. The ships, the steamers, the trains, the scenes, inspiring Turner, his paintings? On the water and looking at the Temeraire and remembering his famous painting?

9. The artists, the President, Constable, Haydon, his picture of the donkey (and his later repaying Turner), Haydon and his intensity, his being ousted? The critiques of the paintings, whether they were placed in the main room or the anteroom, Turner and his putting the red dot on his painting, mocking Constable, making it a part of his painting? His interaction with his peers?

10. Turner, his appearance, age, his growl and the many uses of his growl?

11. Ruskin and his father, Ruskin’s affected talk, opinions, in the drawing room, the discussion about goosebeerries, Ruskin senior, his wife, the discussions about painting, the sea, Claude and interpretation of his work and technique? Ruskin buying Turner’s painting and hanging it in his house?

12. Margate, Mrs Booth, her husband and his being at sea, memory of the slave ships, his regrets? Going to chapel? His death? Turner saying he was Mr Mallard, his visits, the room, enjoyment, the bonds with the couple, with Mrs Booth, the later visits, the sexual relationship? His going on the ship, being tied to the mast, the storm and snow? His bronchitis, the doctor recognising him? Moving to Chelsea, with Mrs Booth as man and wife, the doctor coming, advising him of his death?

13. The scenery, the sea, Margate beach and Turner’s walks, the storms, the boats, the dead bodies, the clouds? His being tied to the mast? The final sketching of the dead girl?

14. Turner and his fame, recognition, the King and Queen Victoria and their reactions, his being recognised by his peers, the offer to buy all his paintings, refusal and his legacy for the British people?

15. The portrait of Turner, his appearance, gruff, the growl, yet always polite, his extensive 19th-century vocabulary and expressions, the distance from his family, his needs, sexual behaviour, ageing? The influence of his father, the treatment of his maid? His development over the years? Use of colour, the experts? The theatrical performance and the mockery of his painting, his disappointed reaction? The final exhibition, the ladies laughing at him, commenting on his style and painting? His looking at the Pre-Raphaelite? paintings and laughing at them?

16. His death, the doctor, Mrs Booth?

17. The film as a tribute to Turner?

MADELINE


France/US, 1998, 88 minutes, Colour.
Frances Mc Dormand, Nigel Hawthorne, Hatty Jones, Ben Daniels, Stephane Audran, Chantal Neuwirth.
Directed by Daisy von Scherler Mayer.

I saw Madeline with about 500 nine and under girls and their parents. They didn't fidget. At the end, they applauded.

It's very much a girl's story, a school in Paris (run by a nun called Miss Clavell but in a very old-style habit!, Frances Mc Dormand). There is a crusty old Lord (Nigel Hawthorne) who decides to close the school but the feisty Madeline (Hatty Jones) gets up to all sorts of mischief, but she foils the kidnapping of the Spanish ambassador's son. So, there's plenty going on, and it's all set in Paris.

1. A popular film children, girls, their parents?

2. The popularity of the books? The character of Madeline, British style, adventures? Miss Clavell?

3. The Paris settings, the period, the landmarks, the river Seine, Notre Dame, the school, the old style building, lavish interiors, dining room, kitchen, dormitory? The musical score?

4. Miss Clavell, a nun of the period, her habit, manner, seemingly not belonging to a religious congregation, her piety, her, prayer, her devotion to the children, care, exasperation, participating in the adventures?

5. The nature of the school, the girls, Madeline not having parents, the other girls, their age, classes, excursions, friendship amongst themselves, some rivalries, the Spanish embassy next door, the noise, the boy, clashes, the party, going to the circus, the abduction?

6. Lady Covington, gracious, welcoming the school, with Miss Clavell, very ill, the children’s visit, her death? Lord Covington, his grief, wanting to sell the school, the clashes with Miss Clavell, with the girls, his bringing the different ambassadors, the tour of the school, the behaviour of the girls, the noise next door, the ambassadors not buying? The final visit, the Lady Ambassador, the plea, her decision not to buy the school?

7. Lord Covington, his manner, snobbery, challenged by Madeline, telling the truth about his grief, sharing with him, his acknowledging the truth, his agreeing not to sell?

8. The Spanish ambassador and his wife, the tutor, the boy, the suspicious tutor? His explaining his qualifications? Going to the circus, his friends, the abduction, the escape, the foolishness, literally clowns, allowing for the children to get on the bike, to escape, the chase, their finishing up in the water, the arrest?

9. The character of Madeline, precocious young girl, young girls identifying with her, discipline, spirit of adventure, of challenge?

10. Miss Clavell, interesting character, in charge of the girls, the school, with the children, with Lord Covington, the final chase?

11. A pleasant family entertainment?

WEEP NO MORE, MY LADY

Canada/ France, 1992, 91 minutes, Colour.
Daniel J.Travanti, Kristin Scott Thomas, Francesca Annis, Cecile Paoli, Robin Renucci, Shelley Winters, Stéphane Audran.
Directed by Michel Andrieu.

Weep No more, My Lady is not one of the better television adaptations of a novel by Mary Higgins Clark. Filmed in France, it is a French- Canadian production, not in the vein of the several Clark adaptations of 10 years later.

It has a very strong cast who are not seen to great advantage, Francesca Annis stealing the limelight as a histrionic actress. Kristin Scott Thomas portrays her sister. there is a welcome presence of Shelley Winters – sending assault.

The film has filming episodes, martial arts at a French resort, health treatments, context for the murder of the actress, of her assistant, frogmen and an attempt on the actress’s sister.

There are many motivations, because the actress is very highly strung, clashing with her lover, Daniel J Travanti. In the end, it tends to be jealousy.

1. The popularity of Mary Higgins Clarke novels? The many television adaptations? The quality of this film?

2. The French settings, the city, the river, filming, the resort, martial arts training, health treatments, the restaurants? Affluent atmosphere? Musical score?

3. The title, the quote, the reference?

4. The credibility of the plot, the film world and moods and exploitations? The world of health resorts, drugs, sexual availability? The murders, the motivations?

5. The focus on Leila, her moods, petulant with staff, the films seen, her performance, a tantrum, driving of? Her relationship with Ted, suspicions of him? The visit of the agent and the discussions with him? The voices on the phone, the video of the jewellery purchase in London, tantalising Leila? The sister’s arrival, Ted’s arrival, Leila’s suspicions, throwing the drink at Elizabeth? The drugs, Jacques and his treatment? On the lake, with Ted, the seeming reconciliation, the frogmen, dragging her to drowning?

6. The police, the little man trying to be Poirot? The interrogations? Suspicions on Ted? Jacques and the drugs and his admissions? His wife and her gambling? The discussions with Elizabeth, taking the tape and its being raised? Judy and her place in the group?

7. Vivian Murphy, winning the lottery, a maid, coming to France, large, eating too much, avoiding exercise? Snooping, Leila’s greatest fan, the gift? The exercises, health, persuaded to have the injections? The truth? Judy killing her?

8. Jacques and his wife, running the resort, the dangers, martial arts, health, drugs, Jacques and sexual availability, the agent’s girlfriend?

9. The agent, American, loud-mouthed, fond of Leila? His girlfriend, sexual relationship, finishing of the truth? The drugs and the evening with Jacques?

10. The assistant, leaving, having the record, warning Leila, hearing, arrival, talking with Elizabeth? Death?

11. Judy, assistant on the film, the infatuation with Ted, seemingly nice? Her killing people, the frogmen suit, Leila’s death, trying to kill Elizabeth?

12. The members of the staff, helping Vivian Murphy, Richard, the attendant, and his contribution?

13. Elizabeth, persuaded to finish the film, disguised as Leila, entering the lake, the threat to her life, her being saved? With Ted?

14. Melodramatic murder mystery, a time-passer?