CASA DI MI PADRE

US, 2012, 84 minutes, Colour.
Will Ferrell, Gael Garcia Bernal, Diego Luna, Genesis Rodriguez, Pedro Amendariz Jr, Nick Offerman.
Directed by Matt Piedmont.

This is an offbeat comedy, rather slight, but often funny. It is a parody of the telenovella, so popular in Mexico and in other Latin American countries. The style of the film, from the title, to the characters and the melodramatic and heightened situations are very much of the telenovella.

But, this is an American film, with Will Ferrell in the central role, speaking and singing in Spanish, playing a rather dim-witted Mexican son, not in favour with his father who focuses all his attention on the other brother, played by Diego Luna. While Armando is faithful to his father and on the property, his suave brother is a drug dealer, in conflict with the drug Lord, played by the diminutive Gael Garcia Bernal. Genesis Rodriguez is glamorous as his niece, about to marry the drug dealer but falling in love with Armando.

There are complications, confrontations, shootouts, as well as riding and romance in the desert. It is certainly not meant to be taken seriously.

1. An entertaining spoof? Of westerns? Of Mexican films? The style of Mexican telenovellas? Characters, style, content?

2. The locations, the US, the West, Mexico, the desert, the hacienda, the drug world? Musical score and style?

3. A US and Mexican plot? Use of Spanish language? Will Ferrell and his speaking Spanish?

4. Will Ferrell, Mexican, slow-witted, earnest, his father putting him down, praising his brother, his relationship with his brother? The issue of drugs, violence? His singing? The telenovela hero?

5. The father, hard, his death, blessing for his son?

6. The brother, easy-going, with Sonia, his hopes, smooth-talking, his dialogue, standards?

7. Onza, the drug Lord, Sonia, the relationship, his jealousy? Self-confidence, the DEA, the shootout, his death?

8. Sonia, with Onza, her back story, the anguished heroine, suffering, going riding, the bond with Armando, softening, the motivation, the preparation for the wedding, and not being in love with her husband? The interruption to the wedding?

9. Onza, tough, in action, his henchmen, the deals, with Raul, confronting under?

10. The DEA officer, tough, the other silent, the shootout and the role of the silent officer?

11. The dialogue, funny, the parody, the ending?

12. Would Mexicans enjoy it or not? But the reality as spoofable?

DESTINATION MURDER

US, 1950, 75 minutes, Black-and-white.
Joyce Mac Kenzie, Stanley Clements, Hurd Hatfield, Albert Decker, Myrna Dell.
Directed by Edward L. Cahn.

Destination Murder is a supporting feature from RKO, 1950s style. It is a crime drama, a gangster drama, a police investigation, all with touches of film noir. The film is brisk, and has enough twists to keep audiences attentive. But it is the kind of material that would be sufficient for an hour’s episode in a contemporary police series.

The film opens with a good device, Jackie (Stanley Clements), a petty criminal and messenger boy, goes out at interval at the movies to have a cigarette and buy popcorn for his girlfriend, but is picked up by a driver, goes to a house, shoots a man, returns to the movies as if he had just been in the foyer. A suspect is pulled in by the police but he is not the murderer. The daughter of the murdered man (Joyce Mac Kenzie) had seen something of the killer and his car. While she is interrogated by the police, she decides to investigate on her own, picking someone from the police lineup, ingratiating herself with him, following him to a club which makes her more suspicious where (rather unlikely given the style of the actress) she gets a job as a cigarette girl.

There are quite some complications with the alleged boss (Albert Decker) who always refers to himself in the third person, is actually a cover for the real boss, the manager, played by suave but sinister Hurd Hatfield (The Picture of Dorian Grey). There also seems to be a homosexual subtext in his character and dialogue.

There is also a smart girl played by Myrna Dell who tricks the killer into writing a confession and then uses it for her own purposes. She too is murdered as is the cover boss.

It all builds up to a confrontation, a taping of the conversation, and the shootout with the villain.

1. An interesting supporting feature of 1950? Crime, gangsters, police investigation, twists?

2. The black-and-white photography, the city, the movies, the clubs, offices, police precincts? Musical score?

3. The title, the reference by the police at the end?

4. The opening, the movies, Jackie and his going out, killing his victim, returning to the cinema?

5. The lineup, Laura and the invitation of the police, identifying Jackie, her wanting to investigate, the police warning her off?

6. Laura and her meeting with Jackie, his being deceived and his showing off with her? Going to the club, his being bashed by Armitage? His wanting to blackmail? The reactions of Stretch – and playing the pianola during the bashing? And the audience believing that Armitage was the boss?

7. Laura, suspicions, going out with Jackie, considering his car, the money, his going to the club to get more money from his friend? The bashing? Her leading him on? Going to the club, the interview with Stretch, turning on charm, getting the job, with the cigarettes, getting the information, the discussions with Alice? Going up to Armitage, his being intrigued? Her interactions with Stretch, the plans for marriage, not believing that he was the arch-criminal, the taping, with the gun, the finale and the shootout?

8. Jackie, with Alice, writing the confession, her keeping it? The continued blackmail? Jackie and his being killed?

9. Armitage, gross, the relationship with Stretch? His being used? With Alice, thinking she would marry him? With Laura? The setup, the gun, his being shot?

10. Stretch, suave, the manager, the control? With Alice in the plan, the confession? With Laura? To marry her or not? His dialogue – and the suggestions of homosexuality?

11. Alice, shrewd, gold-digger, with Armitage, with Stretch, with Jackie and the writing of the confession, the turning it over? Have being killed?

12. The initial suspect, imprisoned for his safety is being set up? His participation in the final plan?

13. The police, investigations, suspicions, the final fight and the solution?

THE HOBBIT: THE BATTLE OF THE FIVE ARMIES

New Zealand, 2014, 144 minutes, Colour.
Ian Mc Kellen, Martin Freeman, Richard Armitage, Orlando Bloom, Luke Evans, Lee Pace, Stephen Fry, Billy Connolly, Ian Holm, James Nesbitt, Ken Stott, Ryan Gage, Graham Mc Tavish, Dean O’ Gorman, voice of Benedict Cumberbatch.
Directed by Peter Jackson.

It had to come eventually, the completion of Peter Jackson’s vision and energy in bringing J.R.R.Tolkien’s characters, world, adventures to a cinematic end.

While The Lord of Thorins had a vast scope, The Hobbit has a much narrower focus. But, in the tradition of dividing up the final chapters of various franchises, like Harry Potter, like The Hunger Games, like the Twilight series, as well as Divergent and The Maze Runner, The Hobbit was broke up into three films.

For the fans, allowing for the differences of the amplification of the action, the first of The Hobbit trilogy was a welcome re-immersing of audiences in the world of Middle Earth, 60 years before The Lord of Thorins. Here was a younger Bilbo (with an appearance of Ian Holm as the older Bilbo). While Bilbo has a comfortable life in the Shire, Gandalf visits and reveals that there is another quest he should undertake. And then the dwarves invaded his home, not a stroke of etiquette between them, and off of reluctant Bilbo goes. There were a lot of complications with the various monsters, with the Orcs, and a series of adventures that resemble much of the quest of Frodo in the original films. For those who were not fans of these films, although there was now a very effective 3-D, they were complicated which made them less interesting.

However, the second film was more straightforward in the storytelling, and, so, easier to follow for everyone, focusing on Bilbo, but also focusing on the dwarves and their quest to get back their traditional home, finding the cave full of gold that would re-establish their kingdom. We were also introduce to the inhabitants of Laketown, and their troubles – all being combined in the menace of the giant dragon, Smaug, fighting the dwarves, confronting Bilbo, threatening the town.

And this is where the third film takes up, the dragon, unconquered, swooping mercilessly over Laketown and setting the various districts on fire, and not just fire, immense fire. The action is quite spectacular as the inhabitants try to flee, the Master of Laketown (Stephen Fry) ransacking the Treasury, pushing his mealy-mouthed assistant, Alfrid, over the side of the boat to lessen the weight. But the hero is Bard, imprisoned but escaping and hurrying to the tower to shoot down the dragon. It takes his son coming and a vast metal arrow-weapon to defeat the dragon. The inhabitants, led by Bard, take refuge in the town on the side of the mountain.

Meanwhile, Bilbo, (the ever-welcome Martin Freeman) is watching the destruction of Laketown with the dwarves. With Smaug gone, the leader of the dwarves, Thorin (Richard Armitage displaying a strong dramatic capacity for greed, madness, repentance and warrior skills) is overwhelmed by the vast wealth, coins and gold, and clutching to power, destroying his relationship with Bilbo and the other dwarves.

The King to whom the dwarves had given their word that they would repay when they found the gold, comes to claim what he is owed. Even when Bilbo tries to arrange a deal between the King and Thorin, Thorin prefers war.

And war there is, long battle sequences, close-up fighting, the arrival of the Orcs and their monstrous clashing with the army of the Elves, Thorin’s cousin (played by Billy Connolly, Scottish accent and swearing and all) also brings his army. Huge birds sweep through the sky and while there is death and slaughter on the battlefield, there is an invasion of the mountainside town, huge characters built of stone bashing through the walls. It is Bard (Luke Evans, a strong presence) who is the leader in the town, the hero leader of the film.

At one stage, less for the plot than for a touch of nostalgia, Cate Blanchett, Galadriel, arrives to rescue Gandalf (Ian McKellen? just the same as always). Also turning up is Hugo Weaving as the Elf King and a wonderful cameo, deep voice and all, by Christopher Lee as Suriman and, as might be expected, when Bilbo returns home there is a glimpse of Ian Holm as the older Bilbo.

There is a great deal of pathos, especially with Bilbo and his relationship to the dwarves, concealing the precious stone that Thorin was desperately trying to find. And there is a moving death scene with Thorin. There is Bard, always trying to protect his children as well as lead the people in battle and to safety. Legolas re-appeared in the previous film and continues his heroics, Orlando Bloom deserving a special award for athletic gymnastics, especially in the final fights, balancing over holes in bridges, leaping up a staircase which is continually breaking up. And Tauriel (Evangeline Lilly) who fell in love with the dwarf, Fili (Dean O’Gorman) discovers that her love for him is real.

After all the fights, after all the tragic happenings and the increasing number of deaths, there is a peacefulness at the end of the film as Bilbo goes home, finds that the inhabitants think he has died and are auctioning his house and making off with all the furniture and goods, but re-establishes himself and all is at peace in Middle Earth.

1. The popularity of The Lord of The Rings and of The Hobbit? The end of six films, satisfying ending and resolution?

2. The work of Peter Jackson, co-writers? His direction? His interpretation? His vision?

3. The work of J.R.R.Tolkien and his popularity? The film versions? Introducing his writings to a wide range of audience?

4. The three Hobbit films, enlarging the story? The scope, characters, action? The presuppositions from The Lord of The Rings? The place of Bilbo, the dwarfs, Gandalf, the mission, the adventure, the many battles, magic and wizardry, the monsters? The kingdom, the heroes, Smaug?

5. The New Zealand locations, Middle earth, Laketown, the spectacle of the burning town? The mountain, the vast caves, the gold? The plains for the battle? The shire and its peacefulness? The musical score?

6. The special effects, the action sequences?

7. Laketown, the inhabitants, the dangers, Smaug, flying through the air, breathing fire, the destruction? The revenge on the town? The people, the escape? Tauriel and the children? Bard, imprisoned, getting out, his heroism, in the tower, his son coming, the arrows, the confrontation with Smaug, killing the dragon? The head of the town and his stealing the money, on the boat, pushing his associate overboard? Alfrid, survival, greed? The dead on the shore, the people escaped, Bard leading them to the mountain? The need for shelter?

8. The dwarfs, inside the cave? Thorin as leader, his past, his strengths, his changing because of the money, the internal change, brooding, his kingdom, the crown, mad, exulting with the gold? Despotic, getting the dwarfs to search for the stone, his sense of betrayal, growing harsher, threatening other dwarves with death? The dwarves searching, Bilbo and his pretending to search?

9. Visitors from the past, Galadriel, Gandalf, the Elf King, Saruman?

10. The King, cold-hearted, Legolas and Tauriel? Attitude towards Bilbo? Coming to the mountain with his cold heart? Hard, risking war, wanting the fulfilment of Thorin’s word? The deal, Bilbo and his having the stone, as his share of wealth? Going to the King, with Bard, trying to reach a bargain? Letting himself down the wall, his final confession to Thorin and his reasons?

11. The appearance of the Orcs, their vast army, the monstrous leader, the associates? marching to war?

12. Legolas, with Tauriel, their going to the mountain, returning to help?

13. Thorin’s cousin, Billy Connolly and his accent and vocabulary, the touches of Scottish humour?

14. Thorin, becoming harsher, his vision of himself, drowning in the gold? His change of heart, apologies to the dwarves, going into action, the fighting skills, going to the mountain, the picked group, and the fights, the trap by the Orc leader, the confrontation on the ice, stabbing the Orc, his lying on the ice and the Orc stabbing him? Bilbo, try to comfort Thorin, his death? The death of the other dwarves? Fili, his courage and death and Tauriel seeing him, love, the pathos of his death?

15. Legolas, his character, his heroics, on the eagle, the leaping, the fights, the stone steps and their breaking up? Firing the arrows?

16. The fighting the town, Alfred supposedly helping women and children, his greed for gold? Hiding in the great hall? The monsters in the town, bashing down walls, the deaths of the citizens, Bard and his children, their safety, Bard leading the victory?

17. Gandalf, his collapse, Galadriel rescuing him, his return, involved in the fighting, the end with his pipe and sitting with Bilbo? Helping Bilbo return home?

18. The collapse of the mountain, victory achieved?

19. Tauriel grieving at the death, and the King making her realise that she had experienced real love?

20. Bilbo’s journey, the farewell to the dwarves, the auction of his goods, his home? Proving himself? Enjoying being home? The reappearance of Ian Holm as the old Bilbo?

21. Peace in Middle Earth?

THE MAN WITH THE GOLDEN GUN

UK, 1974, 125 minutes, Colour.
Roger Moore, Christopher Lee, Britt Ekland, Maud Adams, Herve Villechaize, Clifton James, Richard Loo, Soon- Tek Oh, Marc Lawrence, Bernard Lee, Lois Maxwell, Marne Maitland, Desmond Llewelyn, James Cossins.
Directed by Guy Hamilton.

The Man with the Golden Gun is the second of Roger Moore’s films as James Bond. His first, in the previous year, was Live and Let Die. (This film featured Clifton James as a redneck so popular that he was given a cameo in this film.)

The film was directed by Guy Hamilton who made Goldfinger, Diamonds are Forever, Live and Let Die.

The plot of this film is perhaps the slightest all the James Bond stories. It is principally a confrontation between millionaire assassin, Scaramanga, played with expert precision by Christopher Lee, and James Bond. In fact, the opening sets the theme with a visiting killer playing cat and mouse in a kind of fairground show with Scaramanga. And, at the end, this is where the confrontation between Scaramanga and Bond takes place. Everything is overseen by Scaramanga’s assistant, Nick Nack, played by Herve Villechaize who appeared in Fantasy Island, which began production three years after this film.

While there is some subplot about the gathering of solar energy and being able to sell it to powers around the world, along with a huge plant on an island beyond Macau which blows up at the end after some strict timing and some accidents from Miss Goodnight (Brit Ekland), the main focus is on the confrontation between the two men.

All the usual people are in attendance, M, Miss Moneypenny, Q. and there are a range of locations in a club in Beirut as well as Hong Kong. The score is by John Barry and Lulu sings the title song.

1. An entertaining James Bond film? Less global scope than the other films? The confrontation between Scaramanga and Bond?

2. Roger Moore as Bond, the second film in this role? The characteristics he brought to Bond? suave manner, the touch of ruthlessness, even in his dealings with women, intelligence, fighting ability?

3. Scaramanga, Christopher Lee, his style, voice and tone? Hired assassin, his carnival background, his charging $1 million, commissioning golden bullets for his golden gun, his women and pressure? The initial confrontation with the assassin? Nick Nack as his servant, manipulating the game, his victory, the image of Bond, wanting to kill him in a duel? His killing the solar power academic? In Hong Kong, in Bangkok, Bond’s visit pretending to be him, following him, Bond landing on the island, Miss Goodnight, using her? Capturing Bond, good manners at the dinner table, the explanation of solar power, the duel, his misinterpretation of the cutout of Bond and his death?

4. The women in the film, the belly dancer in Beirut and the link with 002, Scaramanga’s lover, at the casino, Bond confronting her about the bullets, her role on the island? Miss Goodnight and the past with Bond, the present, the ending? Miss Moneypenny and the flirting?

5. The British authorities, M and his contacting Bond, Miss Moneypenny, Q, the British officials? The sunken boat in Hong Kong and its being used as headquarters?

6. The Hong Kong policeman, resting Bond, taking him to the ship, accompaniment?

7. The villain in Bangkok, solar power, the link with Scaramanga, with Bond?

8. The more personal story about Bond rather than international action?

MARAT/SADE:
THE PERSECUTION AND ASSASSINATION OF JEAN- PAUL MARAT AS PERFORMED BY THE INMATES OF THE ASYLUM OF CHARENTON
UNDER THE DIRECTION OF THE MARQUIS DE SADE

UK, 1967, 116 minutes, Colour.
Patrick Magee, Ian Richardson, Michael Williams, Glenda Jackson, Clifford Rose, Freddie Jones.
Directed by Peter Brook.

The Marat/Sade was a play by Eastern European author, Peter Weiss, an author in the theatre of cruelty tradition of the sixties. By devising a play within a play in an asylum, he has a range of levels to communicate to his 20th century audience about human nature and society. By making the revolutionary Marat and the notorious author the Marquis de Sade the main protagonists, he has opportunities for discussions of power, tyranny, violence, sexuality? By having insane people speak the lines he has allowed a range of observation and devices to highlight the ironies of his themes.

The play was successfully portrayed on the stage by the Royal Shakespeare Company. The director was Peter Brook, one of the noted British stage directors of the sixties and seventies. (His films include Lord of the Flies 1963, Tell Me Lies, an anti-Vietnam war film with the Royal Shakespeare Company in 1968 and King Lear with Paul Scofield 1971). The Royal Shakespeare Company works very well in this filmed version of their stage performance. Each of the actors and actresses has a commanding presence and excellent diction for communication of complex actions and speeches. Ian Richardson is excellent as Marat, Patrick Magee, who has appeared in a number of films, including A Clockwork Orange, is the steely de Sade. This was Glenda Jackson's first film and shows her commanding presence. The play was a piece of experimental theatre and the film is an excellent example of cinematic techniques for experimental cinema.

1. The overall impact of this film? The kind of audience it was made for? For what purpose?

2. The contribution of the author - imagination, language? fable? Didactic? The contrived piece of theatre, the distancing or the audience and yet their involvement? The devices for this? His Eastern European background? Revolution, social concern? The techniques of the theatre of cruelty? The impact of an experience of cruelty?

3. The contribution of the Royal Shakespeare Company? The staging of the play, the acting skills, mime? The recitation and diction of the words? Their presence and stage impact? The individual styles of acting, their contribution, the ensemble work?

4. The film as a filmed play? The use of the stage and the setting? The 1808 audience and the cinema audience identifying with them? The officials and their presence as an audience within the play? The addressing, especially by the M.C. of the theatre audience and the cinema audience? The invitation to respond? The set - the area of the asylum, the bars, the holes in the floor and their covers? The costumes of the aristocracy, of the inmates of the asylum? The various theatrical devices for symbols, for example the buckets of blood, the cabbage head of the king, Charlotte Corday's hair as a whip? The contribution of mime?

5. The background of the asylum and the comments on therapy? The 20th century language about asylums and therapy transferred to the 19th century? Theories of the treatment of the insane, for example, hydrotherapy? The need for the inmates of the asylum to act out their aggressions and phobias, psychodrama? The nature of insanity? The threats of the guards and the control? The mayhem at the end?

6. The governor of the asylum and his style, his continued address to the audience, his suave and patronizing manner? The ladies and their patronising manner? His wife and her sumptuous dress, the daughter and her immaturity, preoccupation with sexuality? The cups of tea during the performance? Their involvement? The governor's political friends and the comments during the play? His continued interventions, his censoring of the material and his discussions with de Sade?

7. The personality of de Sade and his reputation, his presence in the asylum, his writing of the play, his way with words, ideas and their opposites? His final comment about the play and its exploration of ideas and their tensions, his inability to finish? His creative work, his discussions especially with Marat and their content, his monologues to the audience especially with his description of the man torn from limb to limb, his being whipped by Charlotte Corday? His cynical approach and his enjoyment of the final mayhem?

8. The choosing of insane people to perform the roles of historical characters? The irony in their choice, the introduction by the M.C.? The double focus on the personality and the person portrayed - for example, Charlotte Corday with her sleeping sickness, the straitjacketed man performing the role of the priest?

9. The background of the French Revolution - the attitude of the playwright for the Revolution, against? The number of deaths? Egalitarian theories and comments? Marat's justification of the Revolution, the principles, people not understanding them, the many deaths, the growing corruption within the government, the executions of the members of the government? The criticism of the French status quo? The political background, the religious background? As exemplified in the executions and the buckets of blood and their colours? The reaction of the ordinary people to the Revolution - the chorus and their song of wanting revolution now? The comments on the aristocrats and their deaths and their not bothering about the deaths of so many people and the fact that they ought to be able to accept their own executions? The irony of comments made on the Revolution from insane characters performing a play 15 years afterwards?

10. The Napoleonic period, the aftermath of the Revolution and its being no better than before the Revolution? Government corruption as illustrated in the Survey of History 1793-1808? The significance of the date of the play, 1808? The picture of Napoleon at the end and the M.C's putting it over the people and the Revolution breaking out again?

11. The audience's knowledge of the historical Marat and his place in the Revolution? The actor performing this role - his sores and sitting in the bath? Marat's illness and his needing to be soothed? Marat and his nobility of ideal and yet his butchery? How much of him was revealed in his speeches? His discussion about his extreme attitudes compared with those of de Sade? The significance of his being in the bath and being helped by Simone? His discussions with her, his wanting to write his declaration? The significance of his nightmare and the cinematic devices used to portray this? The Survey of History before his death? The significance of his death, the death of a tyrant?

12. The girl with sleeping sickness acting as Charlotte Corday? Glenda Jackson's style of acting, diction, singing? Charlotte Corday and her background from Caen? Her discussion about the anti-Marat forces there? Her letter to Marat? The three visits and her plan? The significance of her song and its sweetness and yet its comment about different interpretations of love and death? The sequence of her whipping de Sade with her hair? Her killing off Marat and her later execution? Her assistant and the fact that he was the womanising madman? His aristocratic look? His breaking out and attacking people and falling into the holes? The historical role of the helper of Charlotte Corday and his execution? The madman and his final attack on the aristocratic ladies?

13. The role of the M.C. and the audiences relying on him for information, the explanation of the inmates, the characters? His rhyming poetry and its point? The various devices used for his communication? its irony, his use of his eyes, his announcing of the various tableaux? His holding of Napoleon at the end, his being the observer to what was going on?

14. The role of the chorus, the four with their clown-like make-up, their grotesque appearance, their singing, leering, recitation? Their ensemble work? The variety of melodies in their singing? Their role within the drama, their final March of the Revolutionaries? The audience response to this device for involvement?

15. The priest and his revolutionary speeches, his rousing at the end? his being straitjacketed, his lines being censored?

16. The guards standing by during the recitation, their participation at the end and their being attacked? The nuns and their brutality, the prisoners turning on them and attempted rape?

17. The highlighting of the other prisoners by close-up and group shots? Their presence in the asylum, treatment, suffering? Their songs about Marat as hero, wanting revolution now, the copulation song?

18. The build-up to the new revolution at the end? The aristocracy behind the bars with the inmates, their patronising tone, their not realising their danger, the uprising and the final shots behind the bars?

19. The effect of this kind of theatrical experience? How well was it transferred to the screen, a different kind of experience?

20. Themes of madness and sanity, therapy, cure, power and revolution, violence? The use of ironies for audience experience of and understanding of human nature and society?

TURKEY SHOOT

Australia, 2014, 90 minutes, Colour.
Dominic Purcell, Viva Bianca, Robert Taylor, Belinda Mc Clory, Nicholas Hammond, Carmen Duncan, Roger Ward, Suzannah Mc Donald, Juan Jackson.
Directed by Jon Hewitt.

Turkey Shoot was originally an exploitation film from Australia in the early 1980s, directed by Brian Trenchard Smith who made a number of these films. It was produced by a young entrepreneur, Antony Ginnane, who brought a number of overseas actors to perform in sensational melodramas, often with more than a touch of sex and violence. For those interested in Antony Ginnane and his influence on the Australian film industry in the 1980s, the best source is the documentary by Mark Hartley, 2008, Not Quite Hollywood: the Wild, Untold Story of Ozploitation. This includes scenes from the original film, interviews with Ginnane, explaining why he made these films and the impact they had (and with a manic Quentin Tarantino being interviewed about his love for these films).

Whatever the ups and downs of Anthony Kinane’s career (he was not beloved by many in the Australian industry), in 2014, over 30 years later, he has produced a remake of Turkey Shoot. It has been written by Jon Hewitt (himself an enthusiast of Ozploitation) and his wife, Belinda Mc Clory, who has a significant role in this remake.

Instead of a camp for misfits and their being subjected to death hunts back in the 1980s, we are introduced to a futuristic world of Reality TV. This time, a ruthless producer (Mc Clory) approaches a prisoner, Rick Tyler (a tough Dominic Purcell) who had previously, as we have seen, been sent into Libya to assassinate the President, succeeding, but the media indicating the mission was a failure and so World War: Africa has been instigated at the wish of the American President.

There have been attempts on Rick’s life while in prison but now he has the opportunity to stay and be victimised or appear on the huge-ratings’s TV show, Turkey Shoot, which opens with all the razzmatazz of American television, has two grinning and vapid hosts who chortle on about death as if it was something trivial.

Most of the film is about Rick being hunted like a turkey by expert assassins from around the world, especially Ramrod (Robert Taylor) who was with him when he allegedly massacred women and children. There is a lot of macho posturing – including a woman assassin from Japan.

A lot of complications ensue, with a Rick cleverly evading his attackers and eliminating them. However, he is summoned to the dying General Thatcher (Nicholas Hammond, 49 years on from The Sound of Music) who is having something of a deathbed conscience-crisis. He thinks that world World War: Africa has gone on too long and has degenerated into a military and moral mess. Rick is assisted by a military officer, Jill (Viva Bianca) – who can also pilot a helicopter as well as form a romantic attachment to Rick.

While the film has relished a whole lot of violence, by the end, it wants to have its cake and eat it: shows violence, then regrets it and makes a plea for a better more peaceful world.

The film has a great deal of energy, but its prospective audience is those who love computer games (and see similarities between this film and Battle Royale, Death Race as well as The Hunger Games).

And there is a touch of nostalgia as Rick watches television in his room – and what is showing, nothing else but a clip from the original Turkey Shoot, reminding us that Michael Craig, Carmen Duncan (who appears as the President in the present film) and Noel Ferrier with the stars in those days!

1. The original, exploitation film of the 1980s? An adaptation for the 21st century?

2. The title, the hunt, the violence, the victims? The audience watching?

3. Australian locations for American situations?

4. The outdoors, the television station, the shoot, hospital? The musical score?

5. The introduction, the mission to Libya, Rick and his assignment, the dictator, the sexual innuendo, his being shot? The covering up of the truth?

6. The American President, the mission, an excuse for war? The role of General Thatcher? The war and the passing of the years, World War, Africa?

7. Rick, in prison, the attempts on his life, his skills, the accusation of his role in the massacre?

8. The television executive, the harsh personality, ambitions, the options with Rick, the choice of Turkey Shoot?

9. Turkey Shoot, hunt to the death, a reality TV show, lights, razzmatazz, the hosts and their comments, their giggles – laughingly inhumane?

10. The rules, the deadlines, the target? The range of assassins, featuring them, their personalities, violent skills?

11. Rick, his achievement, being returned to prison, the very high ratings?

12. The second level, the presentation of the killers, the death squad, Rick destroying them? Ramrod, the discussions, the truth about the massacre? Rick getting out?

13. Jill, military, going to the hospital, the discussions with Thatcher, dying? The change in the mission? Believing Rick? The helicopter, the rescue?

14. Jill and her orders, hiding Rick, in the hotel, their relationship? Rick visiting Thatcher? The talk, Thatcher’s change of heart, his killing himself?

15. The television, Rick and his popularity, the confrontation with Ramrod, killing him? The public in their response?

16. The television producer, wanting to take risks, a judgement about the situation with General Thatcher, her instincts paying off, the high ratings?

17. The change of heart at the end, the film taking an anti-war stance, despite all the mayhem throughout the film and the perceptions on Reality TV and the public?

THE MASK OF ZORRO


US, 1998, 136 minutes, Colour.
Anthony Hopkins, Antonio Banderas, Catharine’s Zeta- Jones, Stuart Wilson.
Directed by Martin Campbell.

We have been waiting a long time to see The Mask of Zorro. The story has been told on film often but this is a spectacular version, full of action.

Antonio Banderas is an obvious choice for the lead with his Hispanic panache. Anthony Hopkins has some derring-do at the beginning (or at least his double does) and then turns into the sage guide and tutor.

This is a variation on the Robin Hood legend, the hero who attacks the rich and powerful on behalf of the poor. While it is set in the old days of California, the basic plot is still very relevant. Plenty of swash and buckle.

1. The popularity of Zorro films – from the 1920s into the 21st century? The variation on the Robin Hood story?

2. Historical background, Mexico and California, the secession of California, the power of the Mexican and Spanish aristocracy, property, position, arrogance? Raphael illustrating this?

3. The photography, the sweep of California, the countryside, the mansions, the towns, the goldmine? The desert? The rousing score?

4. The situation, Raphael and his power, the soldiers, the populace, rebellion against him? The two boys, waiting for Zorro, His being disguised as a friar? Going into action? The fights, the stunts, swords?

5. Don Diego, as Zorro, his cause, with the people? His escape to his home? The stories for his daughter, the flower on her bed? His love for his wife? Raphael’s intrusion, trying to arrest Diego, his wife being shot and saving him? Raphael and his jealousy, of Diego’s wife, taking the baby, raising it has his own? Hitting Diego, imprisoning him?

6. 20 years in prison, the squalor and the stench, the visit of Raphael, the prison guard and his kowtowing? Prisoners claiming to be Zorro? Raphael recognising him? Diego, hitting the soldier, getting the keys, his escape?

7. The two Murietta brothers, their colleague, the spiel for the people, the arrival of the soldiers, the commander, the pursuit of the brothers, the older shooting himself, the other escaping?

8. The reappearance of Zorro, for the people, Aleyandro and his encounter, the past, vengeance, Diego keeping control, deciding to train Aleyandro, gratitude for his saving him in the past? The sequences of training?

9. The return of Raphael, Elena as his daughter, and not knowing about her father, smelling flower and its being familiar? Her later being told about her childhood? Her attitude towards her father? Love, but wariness?

10. Aleyandro and the friar, his escape from the military, going into the confessional, Elena coming for confession, the comic repartee, her sincerity, his paying attention, his escape?

11. The gold mines, the vast amount gold? The military, the peasants and their working, being put in cages, Raphael’s intention to kill them all, the fuses for the explosions?

12. Diego, his appearance, Aleyandro? The confrontations, the elaborate fights, over the structure of the mines? Diego and the confrontation with Raphael, being wounded, dying with Aleyandro and his daughter together? Aleyandro, the fights, with the military chief, the duel? The gruesome endings, the military man falling to his death? Raphael being dragged along by the car?

13. Elena and her opening against all the cages for the peasants to escape?

14. The spirit of Hollywood swashbuckling films, on the large-scale, the good cast, action and effects? And the triumph of good over evil?

MY MAN GODFREY


US, 1957, 92 minutes, Colour.
June Allyson, David Niven, Jessie Royce Landis, Robert Keith, Eva Gabor, Martha Hyer, Jay Robinson.
Directed by Henry Koster.

Note: these questions can be used for each of the versions of the story. The 1930s version is a cinema classic placed on the National Register in 1939. It is a typical 1930s screwball comedy. The 1950s version is a slighter treatment, a vehicle for June Allyson and David Niven. There is a change of name from Cornelia to Cordelia and Godfrey moves from being homeless to a man without a passport.

My Man Godfrey is one of the most notable and popular screwball comedies of the 30s. Taking the social situation of the times and satirising it with its types, farcical situations and ironies, these films were also noted for their characters, their fast delivery and quick repartee.

Carol Lombard, who stars in this film was one of the best protagonists of this kind of entertainment. She is matched very well by William Powell as the suave Godfrey. The direction was by Gregory La Cava, noted for this kind of entertainment as well. It was one of a number of such comedies remade in the fifties in colour and widescreen.

They were not considered so successful at the time - although they appear in a better light these days when the charm and the originality of the first films are not so striking. The remake, adapted to the fifties and with a more sentimental ending than the thirties version, stars June Allyson and David Niven in the central roles. The screenplay is very similar to the original as well as the style. The director was Henry Koster, director of a wide range of films but who specialized in light domestic comedy over a number of decades.

1. A good example of popular entertainment, comedy? The reflection of the times, the styles of the times, the picture of wealthy America, wealthy living, wealthy values and attitudes in the American context? A critique? The critique by comment, contrast, satire?

2. The New York background, the production values, the glossy glamour? The score? The stars and their reputations and styles, impact in their own day, now?

3. The tone of the film and its opening, the introduction to Irene, the chase and the hectic pace, the recklessness of the characters, the contrast between Irene and Cornelia? The questions of responsibility and irresponsibility? The scavenger hunt, the frivolity, society participating in it, the good cause? The encounter with Godfrey and the contrast with the two worlds? The decision to use Godfrey? His willingness to enter into this society?

4. Irene, seen within her family and its place in society? An attractive girl in herself, heroine, comic style and characteristics, spoilt, carrying on in the way that the family did? Her relationship to her father, mother, fights with Cornelia? Redeemable? The examples of her lazy behaviour, her good behaviour? Her crush on Godfrey, her trying to shield and support him? The happy ending? The American wealthy heroine?

5. The contrast with Godfrey and his suave style even as a tramp, the explanations of his background and their probability? His presence at the scavenger hunt and behaviour? His becoming the butler, his style as butler changing the household? Friendship with Irene and her infatuation with him? The clashes with Mrs Bullock and bossing her about, humorously? Irene and her infatuation for him, Cornelia and her hostility and the reasons for it, her plot against him and her humiliation? His style, manners? His friends, the background, the importance of the Bullock family's need for money? Mr Bullock and his trying to cope? Godfrey and his arranging of the money? His leaving the family and their reaction to his leaving? His successor? Irene and her being the key to a solution?

6. The humorous portrait of the family and its various eccentricities? Laughing with them, at them? Godfrey's summing up their good qualities despite their frivolity?

7. The house guest and Mrs Bullock's patronage of him? Mr Bullock's irritation? Music and affectation?

8. The humour of the various set pieces? the scavenger hunt, Godfrey's control, especially waking people up, meals?

9. The enjoyable froth of such kind of social comedy? The conventions of the hectic screwball comedy? Such comedy as a way of presenting criticism to society?

Created by: malone last modification: Tuesday 24 of June, 2014 10:49:16 by malone

EXODUS: GODS AND KINGS

SIGNIS STATEMENT

December 6, 2014

A spectacular epic, based on the book of Exodus, interpreting the character and role of Moses as a Prince of Egypt, his discovery of his Hebrew origins, his exile in Midian, his experience of God, his return to lead the people out of Egypt, clashing with Pharaoh.

It is almost 60 years since the appearance of Cecil B. De Mille’s The Ten Commandments with Charlton Heston as Moses and Yul Brynnerg as Pharaoh. De Mille had already made a version of The Ten Commandments in 1923 integrating a story of the 1920s with the dramatisation of the Exodus. In more recent years there was the animated version, Prince of Egypt (1998), a Moses film in the Italian series of television movies about old Testament characters, with Ben Kingsley as Moses. In 2007 there was another animated version, called The Ten Commandments.

This film has been directed by Ridley Scott, best known for such films as Alien, Blade Runner, Thelma and Louise and Gladiator.

This has led many of the reviewers and bloggers to make comparisons between Exodus and Gladiator, many of them not appreciating the biblical foundation for the story, sometimes exhibiting an ignorance of the story and its meaning, especially in the Judeo-Christian? tradition. It is then reviewed as something of a comparison between Moses and Marcus, the gladiator, simply seen as heroes, leaders in battle, with the religious references either passed over or to be considered somewhat odd.

The literary form of the initial chapters of the book of Exodus is that of ‘saga’. And this film offers saga-like interpretations of the Scriptures. It can be noted that there are some variations which those who appreciate the biblical story will regret. One of these variations is that Aaron does not have such an important presence as in the book. He and Moses do not approach Pharaoh. There is nothing of the episode of turning rods into serpents. Aaron, along with Joshua, are supportive of Moses but their significance tends to be underplayed. Miriam appears only in a confrontation scene when Rameses wants to know the truth about Moses, his mother, and his being adopted by Pharaoh’s sister. Miriam acknowledges the truth of the story but claims not to be Hebrew. She is not seen as a participant in the Exodus or the crossing of the Red Sea.

The first part of the film, the first third, explores the character of Moses. Readers of the book of Exodus know that he was a Prince of Egypt. The previous film versions show him as a brother to Pharaoh, a companion, daring in rivalry. But there is a difference in this version. The Pharaoh, Seti, is disappointed in Rameses, acknowledging Moses superiority as a man and as a leader. The Hittites are invading and there are lengthy and substantial battle sequences showing Moses’ skill and leadership, with Rameses as more tentative and Moses having to save him. This is put in a context of a priestess examining the entrails to discover how the battle would turn out. She explains to Pharaoh that a leader will save a leader and be a better leader. Rameses is seen as somewhat weak, not conscientious, self indulgent. This is reinforced when Moses goes, instead of Rameses, to examine the behaviour of a viceroy.

The film then introduces the character of Nun (Ben Kingsley), father of Joshua. When Moses encounters the brutality of the Egyptian slave-drivers and kills some of them, he is told the story of his origins. Shocked, exiled, he goes through a profound desert journey, ultimately going to Midian and seeking to spend his exile there, marrying Sefora, daughter of Jethro.

So far, the strength of the film is seen in the portrait of Moses, his Egyptian culture (which we may have tended to overlook because we focus on his role in the Exodus), an active man but also a man of interiority. Christian Bale is effective in the role. With the weakness of Rameses (Joel Edgerton, also effective), the confrontation between Moses and Pharoah is well-prepared.

It is in the desert where he experiences the burning bush and the voice of God ‘I Am’. There have been great number of criticisms about this presentation of the presence of God, especially in the form of a young boy with a rather British accent. Comments have been made that this is God but, if we listen attentively to the screenplay, we hear Moses appreciating that this boy is a messenger of God. The Scriptures have made the reality of angels, representing God, presenting a face of God, something which Judeo-Christian? tradition understands. Reviewers and audiences have belittled the idea of God as a boy (and with that British accent) whereas it can be accepted as in the biblical tradition, even though many might prefer a more adult appearance, The messenger/boy appears not only at the bush, but at various times in Moses’ religious experience. He is not seen by Aaron, just seen Moses himself.

Whether a ten year old boy is effective as this most significant of God’s messengers is a cinematic critical issue rather than a Scriptural one. An initial controversial point was that there were too many western/European faces rather than middle-eastern actors. Probably, but…

Where Exodus is most impressive visually is with the plagues, expert special effects. Audiences who are sceptical about these plague-sagas will be interested to note how there is some ‘realistic’ interpretation: crocodiles are rampant in the Nile, the blood of their fish and human victims turns the Nile red; frogs emerge from the rotting flesh and invade the homes; flies flourish and the humans are covered in boils; the sky darkens and fierce hail pounds the country, followed by locusts. Some credible cause and effect.

The deaths of the firstborn is indicated by a shadow progressing over the land and the victims stop breathing. Previously Rameses has been cruel in persecuting the Hebrews, locking people in their houses which are set alight.

Because Rameses has been portrayed as a weak character, his confrontation with Moses is not the clash of leadership. He wants to enslave the Hebrews, rather petulantly at times, and also going in private to pray to his gods.

When Moses returns to Egypt, he comes across an area of the Nile which is shallow – so we think that this is where the crossing will be. Moses loses the way as the people flee and comes to a beach with rolling waves. The crossing is more visually effective than De Mille’s effects available in the 1950s. Here it is to do with the tides, the flow subsiding as the people cross, the flow not only mounting as the Egyptians enter, but a vast tidal wave, tsunami style, threatens, then crashes down.

In a dramatic touch, Rameses is overwhelmed by the water and seems to drown, but he emerges alive to face Moses once again, in defeat.

We can see why the film is titled, Exodus: Gods and Kings, because that is the main focus. A short sequence with Moses chipping into stone tablets, the messenger of God present again, endorsing the value and values of the commandments contrasts with De Mille’s over-miraculous sequence where huge fire-flashes from heaven burn and carve the words onto stone.

And, as in Exodus 19, 20,24, this is just the beginning of the Exodus journey. A glimpse of Moses, growing older, still leading the people, is where this dramatization of Exodus ends.

Allowing for the above-mentioned details about the role of Aaron and Miriam, this film enables audiences to understand and appreciate Moses, his Egyptian experience, the change when he discovers his origins and how he interpreted the God-given message to challenge Pharaoh and lead his people out of a 400 year servitude. And, it combines the spectacle of the plagues and the crossing of the Red Sea with some natural explanations and divine intervention.

THE CAPTIVE

Canada, 2014, 112 minutes, Colour.
Ryan Reynolds, Scott Speakman, Rosario Dawson, Kevin Durand, Mireille Enos, Alexia Fast, Bruce Greenwood.
Directed by Atom Egoyan.

Celebrated Canadian director, Atom Egoyan, has had two films released in 2014 with abduction and abuse themes, firstly, The Devils Knot, based on actual events of the 1990s, and this film, The Captive, a fiction which dramatises possibilities concerning the kidnapping of a little girl and keeping her prisoner, something which the world has become more aware of, especially since the disappearance of Madeleine McCann? in Portugal.

The film caused controversy in the Cannes film Festival, 2014, many of the reviewers deriding the screenplay, holes in the plot, thinking it a tawdry film. One can agree that the film leaves a great deal to the imagination and memory of the audience, moving between different time eras without immediate explanation, keeping graphic scenes of the treatment of the girl off the screen, with the result that some might be tempted to think it is all too easily presented.

However, the film does set up a loving father and mother, very ordinary types, with a landscape gardening business in the south of Canada, close to Niagara Falls and the American border. Their little girl, Cassandra, is a keen skater with admiring parents. After practice, she and her father stop at a diner to buy a pie and when he comes back to his truck, she is gone.

The film does not keep the audience in suspense about who did it, showing the man, a wealthy man with position in business and in society. Perhaps it is a weakness in the film, when audiences have looked at and listened to some graphic stories over the years, that the years in which Cassandra has been in captivity are glossed over. We see her six years after the abduction, now a teenager, living a very comfortable life except for the reality of the imprisonment, a victim, it would seem, of the Stockholm Syndrome, even going online to search out potential victims for her captor.

As the film moves back and forwards to and from the time of the abduction, to 6 years later, to 8 years later, we see what has happened to the parents and we see two members of a special squad to deal with paedophiles.

The parents, played by Ryan Reynolds and Mireille Enos, have taken the abduction very hard, not knowing whether their child is dead or alive. The father has something of a quick temper, a violence charge against him, has had financial difficulties, suggesting to one of the police that he may have sold his daughter. He still keeps the back seat of the car as it was when Cassandra disappeared. In the meantime, the mother has a cleaning job in the house of the abductor, her daughter able to watch her mother at work through a surveillance system, elaborately set up so that the abductor can observe, even putting cameras in police areas.

One of the police, Nicole, is played by Rosario Dawson, who has had bad experiences from her childhood and is sympathetic to the case, seeing the mother regularly, the father refusing to go, weary of his wife’s angry outbursts of blame. The other is an angry officer, Scott Speedman, always suspicious of the father – and who enters into a relationship with Nicole. Nicole, who has been an exemplary officer, is guest speaker at a charity dinner (which is attended by the abductor who targets Nicole).

Almost by accident, a clue and lead emerge after eight years, which leads to a rather melodramatic and violent ending.

On reflection, there are many limitations in the structure and impact of the film, but, while it is on the screen, it keeps the attention.

1. Title? Expectations? Abductions? Paedophile rings?


2. The Canadian production, near Niagara Falls, near the American border? Universal story and message?

3. The time shifts, the six years passing from the abduction, eight years?

4. The focus on the family, Matthew and Tina, their love for Cassandra? Cassandra skating, their stopping for the pie, the phone call to Tina, the girl remaining in the back of the van, gone?

5. The shift in time, Cassandra as a teenager, with Mika, locked away, the importance of the surveillance cameras? At her computer, watching her mother and the cleaning? Her being used – but by implication on screen rather than graphic action? The placement of her tooth on the bed? Her skating prize discovered? Online, attracting young girls?

6. Matthew and Tina, ordinary parents, landscape design, the charge against Matthew for brawling, his need for money? Watching their daughter skate? Cassandra and Albert? The promise that he would not skate with anyone else as long as she lived? The language of promise, trick, gimmick, relevancy – and her later using these words meeting with her father? Her father? The pie, the phone call, the short time, the subjective camera indicating the vehicle coming alongside, Cass gone? Matthew, response, desperate, the search, the snow? Going to the police, Tina arriving, the anger, blaming Matthew?

7. Nicole and Jeff, their personalities, Jeff new to the squad, the interview with Matthew, the good cop, bad cop? Jeff upsetting Matthew, accusations of selling his child for money? The tension in the relationship over the years? Tina, the bond with Nicole, coming to the interviews? Matthew not coming, dreading Tina’s outbursts? The photo, online, the reassurance that Cass was still alive? Matthew’s reaction?

8. The setting up of the squad, for abduction issues, targeting paedophiles, the various people, the expertise, the profiler and his understanding of jigsaw puzzles?

9. Mika, the lavish house? His business connections in discussions? Unlocking the part of the house with Cass? His charm, social position? At the dinner, talking to Nicole, the sinister woman, the potion in the drink? Taking Nicole home? Putting her in the van? Imprisonment, surveillance? Matthew hearing the woman interviewing Albert, about the award, driving with Mika, stopping off at the diner, confronted by Matthew?

10. The years passing, Matthew, his work, the truck, leaving the back the same with Cass’s clothes, his angers? Hostility towards Jeff? Tina and their work in the house, under surveillance all the time, by Cass?

11. The truck, the Christmas trees, sent to the motel, waking, all the trees along the road, Matthew following them, seeing Cass, the reunion, the neutralising dart?

12. The years passing, sudden chance of the interview and overhearing it, following the couple in the car, at the diner, confronting them, the manager and the notices, phoning the police? Jeff agreeing to follow, Matthew putting the GPS on the abductors vehicle?

13. Matthew, the confrontation, the diner, calling the police, the chase, the snow, bumping into Matthew’s vehicle, his turning back, the police coming to the diner?

14. The charity dinner, the poster with Nicole as a policewoman, Vincent meeting her, chatting with his wife, her questions? the table? Her speech? Mika and his being charming? The sinister woman, the black wig, the pill in the drink, the abduction of Nicole? Her story about being alone at age 14? Imprisoned in the fan?

15. Going to the house, the range of surveillance, discovery of the camera? Mika’s using it to spy? The confrontation with the police, the guns, the shooting?

16. A glimpse into the world of abductions, the girls used, abused, the abusers and their types, position in society? The role of parents? The role of the police?