THE LIFE OF THE PARTY

US, 1937, 77 minutes, Black and white.
Joe Penner, Gene Raymond, Harry Parke, Harriet Hilliard, Victor Moore, Helen Broderick, Billy Gilbert, Ann Miller, Franklin Pangborn, Margaret Dumont.
Directed by William A.Seiter.

The Life of the Party is a film of historical interest, one of several similar films from RKO in the middle of the 1930s, after their success with so many of the Fred Astaire- Ginger Rogers musicals.

This film relies on the popular comic style of Joe Penner and Harry Parke (Parkyacarcass). Joe Penner does the bungling naive type which may or may not appeal. On the other hand, Harry Parke does routines, especially play on words, always mishearing and giving alternative definitions, the patter going on for quite some time – for those who enjoyed play on words, there are sometimes some ingenious moments.

The basic plot concerns a band, led by comedian Billy Gilbert, prone to frustrations, with his agent played by a prissy Franklin Pangborn (one of his usual roles) and some singers. The daughter of a Countess, played by Harriet Hillyard (soon to be so popular as Harriet Nelson, with Ozzie Nelson and their sons, David and Ricky) who wants to be a singer and is supported by her agent, a sardonic tough agent, played by Helen Broderick.

The leading man is played by Gene Raymond who has a few songs. He is immediately attracted by the young woman, getting into tangles with her especially about shoes and buying up all the shoes in the hotel so that she will be forced to come to him. His mother has a security guard to keep an eye on him – played by Victor Moore, always adept at bumbling roles.

However, one of the highlights of the film, is the presence of Ann Miller and her tap dancing, already sparkling when she dances, appearing in rather lower budget films (except for You Can’t Take It With You) for the next ten years until she was taken up by MGM for Easter Parade where she had another fine decade of top films and expert tap dancing.

There is an extra bonus for fans of the Marx Bros films in finding that Joe Penner’s mother is played, in typical style, as a grande dame by Margaret Dumont.

So, there is romance and repudiation, schemes which include the leading couple pretending to be married, the singer getting an audition and being received favourably.

While the film seems very dated now, it has a touch of exuberance which means that it still has a certain amount of appeal.

THE WENCH IS DEAD

UK, 1998, 100 minutes, Colour.
John Thaw, Lisa Eichhorn, James Grout, Judy Loe, Philip Quast, Matthew Finney.
Directed by Robert Knights.

This is the penultimate Morse film, moving the series to close to an end after more than 10 years, as well as bringing Morse to the end of his career, giving him a peptic ulcer, hospitalisation, considering retirement but solving a case from 140 years earlier. Most significantly, for fans of the series, Inspector Lewis is absent.

When Morse collapses after a lecture on Victorian crimes, he is diagnosed as having an ulcer and Chief Superintendant Strange suggests that he think about retirement which is due in two years. The screenplay gives Morse of long time in hospital, a touch cantankerous with the staff, interacting with the doctor (Australia’s Phillip Quast), visited by Adele whom he had encountered in the previous episode, and had even revealed his name, Endeavour. Clearly, she is to be part of Morse’s future.

Lisa Eichhorn (so radiant in Yanks) is a visiting American expert on Victorian crime and visits Morse in hospital, giving him one her books. He begins to read a chapter and decides that the courts at the time got everything wrong. Strange, who has as his assistant an Oxford graduate who feels he is demeaned by serving Strange tea, is assigned to do research for Morse, which he does successfully.

The film has quite a number of flashbacks to life on the canals in the 1850s, from Coventry to Oxford to London. A woman is found floating in the river, the boatmen on the barge brought to court, except for a 15-year-old, found guilty of murder and hanged. Morse, investigates the behaviour of the murdered woman, as portrayed in the expert’s book. It soon emerges that the boatmen were blamed because they were considered heathen, working seven days a week and not having time for church on Sunday. Their behaviour was considered somewhat dissolute.

By looking at prices for travel in those days, in looking at the dead woman’s former husband, a magician, as well statistics about the height of women in those days, Morse comes to the conclusion that the dead woman is a victim of both husband and wife who contrived the whole scenario for life insurance payouts. Morse goes on a visit to Ireland, with Adele, and the opening of a grave indicates that the couple had used this manoeuvre twice.

By the end, Morse is ready to retire – but appeared in one more film, and dies, The Remorseful Day.

1. The popularity of the Inspector Morse novels, the television series? John Thaw impersonating Morse over a period of 11 years?

2. The character of Morse, the bachelor, the loner, the expert detective, his educational background, love of music and literature? His age, drinking, this being blamed for his ulcer and his being warned off drink – but, by the end of the film, his not obeying the injunctions? His getting older, the prospect of retirement, his being busy, solving the case, ready to finish?

3. Oxford, the city, lectures, universities? The canals? The contrast with the 19th century, life on the canals, the barges, the courts?

4. Morse, in hospital, the visiting Professor, his collapse after her lecture, coming to visit, the gift of the book, the friendship? His reading the chapter, suspicious? Arguing with the author?

5. The flashbacks, the barges, the boatmen, the woman on the barge, the woman in the river, the fog, the man seen walking away? The autopsy? The information in the transcripts? Her behaviour, wanting passage, her complaint about lewdness, yet her drinking and her own behaviour? The body in the water? The examination?

6. The court case, the witnesses against the accused? The young boy and his testimony? The judge and his behaviour? The prosecutor, the defence? Morse noting what was not considered, the dropping of the rape and theft charges, the missing bag, the prices for travel to London by train or barge, stage? The height of the woman? The altering of the dress? The cutting of the undergarments?

7. Kershaw, graduate, serving tea to Strange? His being assigned to Morse, research in the library, meeting the visiting lecturer, getting the information about prices, heights of women, the visit to the cemetery and finding that apartments had been built over the graves? Information about life insurance? Morse and Adele their visit to Ireland, opening the grave, the fact that the magician and his wife (and the scene of their performance) responsible for the deaths and twice for life insurance?

8. Adele, attraction to Morse, coming to visit him, bringing him books? Not liking the lecturer being present? The visit to Ireland, the future?

9. In hospital, the nurses, the treatment, the surgeon, the discussions with Morse, warning him?

10. Morse, getting out of hospital, enjoying the drink once again, deciding that he should retire, the trip to Ireland, a future with Adele?

RIVER STREET

Australia, 1996, 88 minutes, colour.
Aden Young, Bill Hunter, Essie Davis, Tammy Mc Intosh, Sullivan Stapleton, Joy Smithers, Lois Ramsey, Bruce Venables.
Directed by Tony Mahood.

River Street has a Melbourne setting. It is reminiscent of some American telemovies which touch on personal and social issues in a light and accessible style. Aden Young is an ambitious young real estate agent about to marry the boss's daughter. Through an offbeat accident, he is given 100 hours of community service. In this new world, he still tries to exploit unaware victims, but eventually he comes to his senses and has to decide whether success of integrity are really what he wants out of life. Not a world-beater, but a concerned movie that eventually wears its heart on its sleeve (and finds that this is often the right place!). Social concern.


1. Australia in the 1990s? The city of Melbourne? Developments, business, charities?

2. The title of the locations? Melbourne, the river, the buildings, facing the river? Homes, shelters? Ordinary life in inner Melbourne and suburbs?

3. The title, the river-front developments? The consequences?

4. Ben and the situation, young, ambitious, unscrupulous, engaged to Sharon, Vincent as his boss and role model?

5. Opportunities, the situation, the clash with Vincent, Ben missing the option? His being in court?

6. The sentence, community service? Wendy, the children, his work, the plan? The property, ambition the deal?

7. Grandmother, holding up the deal, her stubbornness?

8. Ben, the challenge of the community service, interactions with Wendy, with the children? The appeal to his conscience, doing good, finding his better self?

9. The blend of the serious and the humorous, emotional, probing values, possibilities for redemption?

LET’S BE COPS

US, 2014, 102 minutes, Colour.
Jake Johnson, Damon Wayans Jr, Rob Riggle, James D' Arcy, Andy Garcia.
Directed by Luke Greenfield.

If you are invited to a fancy dress party, what would you choose to wear? The two ‘heroes’ of this comedy decide to go as cops. They get ready. They think they look smart. They arrive – and make an impression because, in fact, it is only a masked party and the guests take them for real. From this unlikely premise, comes a comedy which turns rather serious.

And who are these heroes? One is Ryan (Jake Johnson) who had the talent to be a significant sportsman but had to bail out because of injury (later revealed as a stupid jump rather than being hurt on the field). The other is Justin (Damon Wayans Jr), rather timid in his manner, who is an ideas man in a company which makes computer games. When he presents his spiel for Patrolman, the executives mock him. Which means that both are in a somewhat bad place.

But, wearing the police outfit, and people at the party mistaking them for real police, they succumb to the obvious temptation. Let’s be cops!

Part of the comedy is their wandering the streets, intimidating people, leading them on, even being accepted by real police. They get a great kick out of all of this. What could go wrong?

They become involved with some local people who are being pressurised by thugs for a drug and arms-dealing boss. As they investigate further, and make contact with actual police, they decide that they will do a bit of detective work, which leads them, of course, into dangerous ground. The chief gangster and his henchmen impose protection fees on various shopkeepers, and are violently intense (James D’Arcy). And then there is one of the chief detectives (Andy Garcia) who definitely complicates matters.

There is an early quote from Danny Glover in Lethal Weapon, getting too old… But, the Lethal Weapon reference must have given the screenwriters some ideas because that is what the plot turns into, entanglements with the thugs, confrontations with the boss, and some exercise of those lethal weapons.

There is a touch of romance as well. At the end, of course, Ryan has found his vocation, and Justin has an idea for a videogame. He changes from a rather meek type to a forceful type and all will be well (and, depending on box office, for a sequel). One of those comedies if you have nothing better to do.

In many ways the whole thing plays something like a computer game itself.


1. The title, expectations, the cast and comedy?

2. Plausible comedy, implausible? Drama?

3. The city, the jobs, the music industry, computer games, the police? Shopkeepers and paying protection? Gangsters, munitions, the underground tunnels? Ordinary life in the city, the gangster underbelly? The musical score?

4. The introduction, Justin and his game, police game, the presentation, the young board listening, the boss, negative attitudes? Ryan, his past sport career (from a stupid fall, not the sport), interest in music?

5. The party, disguise as cops, a masked party, people’s reactions, fear? Walking along the street, testing with passers-by, pretending and enjoying it?

6. The decision, to pretend to be police, looking authentic, the variety of responses?

7. The shop, the shopkeeper, the thugs, the protection money, thugs, their rounding them up and threatening them?

8. The character of the boss, the thugs, arms, cash, the tunnels, police corruption?

9. Going to the police, Segers, the officer believing them?

10. The plan, the discussions with Brolin, not realising the police corruption? The decision to go in, the danger?

11. The genuine police officer, his believing them, going in?

12. The tunnels, the police work, the shootings, the boss and the confrontation, his killing Brolin? Their being rescued, the policeman and his reaction, saving them?

13. The happy resolution, the rounding up of the gang? People living in peace?

14. Justin and Josie, the relationship, his shyness? The contrast with Johnson?

15. Justin and his becoming more confident, preparing the computer game, his tough stances, in action, acceptance? And Ryan becoming a genuine policeman?

PARTICLE FEVER

US, 2013, 99 minutes, Colour.
David Kaplan, Nima Arkani- Hamed, Martin Alexa, Monica Dunford, Fabiola Gianotti.
Directed by Mark Levinson.


Who would have expected any fever about particles? The answer is: thousands of physicists around the world – and many non-physicists. This is a documentary for the latter audience rather than specialist physicists, though they may enjoy seeing the visuals of the LHC (Large Hadron Collider), CERN, Switzerland. (They may well be critical of the explanations given – and be appropriately challenged by how they would write a screenplay for ordinary lay viewers and to communicate with them.)

Many of us will remember talk of the LHC in 2008 and the experiments to see whether material could be sent spinning around the 17 km of tunnels under parts of Switzerland and France where, when the time was right, particles would collide with each other and reveal, or not reveal, a key particle in an atom which keeps the other particles together. Well, perhaps not every audience will remember those events. It is more likely that they will remember July 2012 when, after several years, ensuring that there were no mishaps in the functioning of the Collider, the experiment was set in motion.

Out of the media hype was the hope of expectation that the scientists would find the “God-particle”. It would give insights into what happened at the Big Bang and immediately afterwards. Named after the British physicist, Peter Higgs, there was already a title for this particle: the Higgs boson Particle.

The documentary doesn’t immediately plunge us into the physics. Rather, some genial hosts provide a great deal of Talking Heads information, especially David Kaplan who introduces us to the whole experience. There is documentary material of his visiting CERN in earlier years, inviting us into show us the whole plant, revealing the extraordinary amount of engineering that went into setting up this vast Collider. One realises that the audience should be in absolute awe of the designers, the engineers, the technicians, the maintenance personnel who kept this world’s largest machine, several stories high, in working order.

We are taken back to 2008, the excitement and the wondering whether the particles would be able to circulate freely in the 17 km tunnel. When there is success, the fever rides high. One of the things that older audiences will notice is that how young the majority of the physicists are. There are some grey hair and grey beard types, including Peter Higgs himself who was present in 2012, receives a rapturous elevation and can be seen to be very emotionally moved.

David Kaplan has quite a number of friends and contacts in Switzerland so he interviews many of them. And, before they succumb to any particle fever, they are highly enthusiastic, committed to the physics, especially to the theories and the variety of theories which will be proven or disproven by the 2012 experiment. They are strong on theory, relying on mathematics – and for anyone in the audience (most of us) who get gobsmacked by seeing blackboards full of mathematical formulae, using symbols that they have no idea about, one blogger advises, ‘don’t be scared, just as in a horror movie with something monstrous, turn away!’.

The excitement is high in 2012, not only in Switzerland, but in various places around the world which are connected, enabling physicists and the public to witness the events as they happen.

For those who are thinking of seeing the film, it is probably no good asking your friends about it. They will start to stumble in any explanation which could throw light on the physics or the maths. Rather, be inspired by their enthusiasm, and the fever that they have picked up from watching scientists, many of whom live in a world of theories, as well as the people on the ground, so to speak, who rely on the science and the engineering, and so decide to see the film. There is no exam afterwards.

However, while most of us will not retain much of the detail at all, we have been let into the world of physics, of theories, of speculating about the God-particle, about the Big Bang and its energy, about evolution, about the Higgs boson Particle - and the possibility of its collapsing in on itself which could mean the collapse of the universe. Physicists, of course, are hoping against hope that this will not happen.

A most impressive cinema documentary experience.

SERENA

US, 2014, 109 minutes, Colour.
Jennifer Lawrence, Bradley Cooper, Rhys Ifans, Toby Jones, Sean Harris, Sam Reid, David Dencick, Christian McKay?,
Directed by Suzanne Bier.

On paper, this film has a lot going for it. It teams Oscar-winner, Jennifer Lawrence, for the third time with Bradley Cooper (The Silver Linings Playbook, American Hustle). Rhys Ifans is unrecognisable as the villain and there is an interesting supporting cast of British actors. And the director is the Oscar-winner, Susanne Bier. However, it seems that very few people are interested in the film or like it.

Actually, it is very much like one of those 1930s or 1940s melodramas, possibly with Barbara Stanwyck in the central role as Serena. This kind of film is out of fashion now, better appreciated on television, Turner Classic Movies and other similar channels.

Having said it that, it is best to look at Serena for what it is rather than what audiences might want to be.

The film is very colourful, often beautiful, to look at, set in the forests and mountains of the Carolinas during the Depression. It recreates the mood of a logging town and its activities, hard work, sometimes hard lives, Bradley Cooper is George Pemberton, an enterprising man, who wants to exploit the forests – and we have several scenes of the chopping down of the trees, the logging, the rail carriages to carry the wood, and some accidents. George is a businessman who has dreams of owning property in Brazil and exploiting the forests there.

When he goes to the city and sees an elegant young woman doing dressage and sitting elegantly on her horse, he decides to, literally, pursue her and very soon they are married. This is Serena, played by Jennifer Lawrence in different mode from all her other films, not reminding us of Katniss Everdene in The Hunger Games films, nor the brassy wife in American Hustle. Serena has survived severe fires as a girl of 12, but has lost her family. When she arrives at the logging town, she instantly shows that she is a strong woman, a partner in the business with her husband, critical of the men getting snakebites and determining that they should buy an eagle who will swoop on the serpents. And she impresses the men by training the eagle herself.

There are some strange characters in the town, especially a former prisoner, Galloway, played by the unrecognisable Ifans, devoted to Pemberton, devoted to his Serena, especially when she tends him after a severe accident with an axe. There is also Pemberton’s partner and accountant, Buchanan (David Dencick) who is certainly attached to Pemberton, the screenplay raising questions about his sexual attitudes.

The screenplay of the film is topical when the townspeople, led by the sheriff (Toby Jones) discuss environmental issues – which don’t persuade Pemberton at all.

Serena seems unconcerned with the fact that her husband has sired a son with one of the local maids. But, when Serena rides a horse after helping Galloway with his wounds, this becomes more important because the melodrama starts with a miscarriage and a growing jealousy by Serena of the young mother.

And, melodrama it is, moving away from the dramatic history of the early part of the film, bringing up tensions between Serena and her husband, Serena using Galloway as an instrument of vengeance, and flights and murders.

Part of the melodrama is Buchanan and his envy of George Pemberton and the temptation to betray him. There are other members of the team who are suspicious of the bookkeeping and the entries and are willing to make deals with the authorities.

Throughout the film there has been a symbolic image, a panther wandering the mountains, mostly unseen, but deadly. George Pemberton and his friends are eager to hunt the panther, which, when the eventual confrontation takes place, we appreciate is an image of Serena herself.

1. A piece of American history, the 1920s, logging, industry, employment, environmental issues?

2. The Danish director, social interest and concern, personal interest, melodrama?

3. The touches of traded tragedy, memories of Macbeth and Lady Macbeth? Motivations, madness, violent deaths? The symbol of the panther – and ultimately representing Serena?

4. The title, the focus, Jennifer Lawrence as Serena, aged 12, the fire, her running away, the death of her family, the burn on her back? The later suspicion that she lit the fire? On the horse, George, the attraction, following her, the proposal, the quick marriage, Serena loving George? Her supporting his wanting to buy land in Brazil? The house, seeing the pregnant woman, her wanting to start the marriage with no past, forgiveness? Their sexual relationship, intense? As a partner in the company? Her speech to the men, wanting to buy the eagle, the eagle’s arrival, her training it, the men and their admiration? Galloway, his interest in Serena? Buchanan and his alienation, from George, from his job? Serena’s pregnancy, happy? Galloway’s accident, the binding the wounds and saving his life, riding the horse, at home, reluctant to go to hospital, in the hospital, the baby stillborn?

5. The change in Serena, depression, morose behaviour and talk? The relationship with George, going to the party, the dress, her drinking, dancing? Discovering George’s money for Rachel and the child? Her evil motivations, using Galloway, the murder of the woman caring for the baby, the threats, preparing for a party with George and his return, George’s death, the arrival of the sheriff? Her burning the house and herself? Her madness?

6. George, his company, exploiting logging, Buchanan as his right hand man, Campbell and his role, hunting for the panther? The chopping of the trees, the logging, American exploitation of the environment, the meeting about the environment, the sheriff, George and his supporting jobs and prosperity? The railcar getting loose, the injuries, George running and getting on and braking, saving the injured man’s life on the rail? George’s visit to his sister, the discussions about his work, marrying, seeing Serena, following her? Buchanan and his alienation from Serena? His betrayal with the books? The shooting, witnesses?

7. Buchanan, his love for George, indications of homosexuality? His going to the sheriff, doing deals, the meetings and the money, with the bankers? His death?

8. Galloway, having been in prison, the prophecy about the woman who would help him, admiring Serena, the accident to his leg, attending him, his gratitude? His killing for her? The confrontation with George and Galloway’s death?

9. Campbell, the books, taking them to the sheriff, his being murdered? The background of the bribe to the politician? No money for buying the land in Brazil?

10. Rachel, serving the meals, George in his own quarters, her pregnancy? The photos, the album? George and the envelopes with the money? The lady
caring for the baby and being murdered? The role of the sheriff, the threats?

11. Serena, confronting George about the baby, wanting the baby killed, assuming that George would do this for her?

12. Rachel, her child, Vaughan and his care for her, the future? Trying to escape, going to the railway station, hiding, Galloway and his pursuit of her?

13. The role of the sheriff, attitude towards George, at the environmental meeting, suspicions, giving George the deadline, finding George dead because of
the panther? George dying, Galloway and Campbell, Serena and her disappointment, setting the house on fire? The film as a heightened melodrama?

THE ONE I LOVE

US, 2014, 91 minutes, Colour.
Mark Duplass, Elizabeth Moss, Ted Danson.
Directed by Charlie Mc Carthy.

The One I Love is a small, independent film, produced by the Duplass Brothers, starring Mark Duplass who has moved into acting in a wide variety of films. He is Ethan. As Sophie, his co-star is Elizabeth Moss, who appeared in the television series Mad Men and in Jane Campion’s Top of the Lake.

As the film progresses, older audiences might well be wondering about it, where it is going and whether they are identifying with the characters and the situations or not. They might have in the past, but this is a story for young marrieds, especially in their 20s or, perhaps, in their 30s. Older audiences might be remembering their past but this story, with its plot of self-discovery and issues of love and breakdown of love and marriage, and finding it rather uninteresting, even a bit tedious or boring.

The film has a voice-over about how the couple met, chased from a swimming pool by an angry owner, and their attempt to recreate this atmosphere on the first anniversary by going back to the pool. But it soon emerges that the love and the marriage are becoming more and more tentative. Wisely they go to a counsellor. He is played by Ted Danson who is, in fact, the stepfather of the director, Charlie McCarthy?, whose mother is Danson’s wife, Mary Steenburgen. The director’s father is Malcolm Mc Dowell. Mary Steenburgen contributed to the lyrics for one of the songs and she and Ted Danson receive gratitude in the final credits.

The counsellor urges the couple to go to a country retreat where, hopefully, they will rediscover their love. This is the important part of the review because there is an unexpected twist and should not be revealed. What one might say is that it is something of a Sliding Doors experience, though wholly in the present. This makes demands on the acting talent of the central couple. Adult audiences, younger, will probably find the plot twist fascinating, challenging them to see how they identify with Ethan and Sophie and how they behave in the changing situation.

Judging from the comments of the adult, younger, audiences emerging from the film, they found it was open “great” so there is an audience for the film who will appreciate characters and situations. For audiences over 40, it could be something of déjà vu, but it also could be something that they realise of interest and appreciation to others, but not themselves.

1. An independent film, not a studio film? Small budget, the cast, the settings? The offbeat plot? Not with Hollywood expectations?

2. The opening, the swimming pools? With the counsellor? Going into the countryside, the resort, the house, the guesthouse, interiors and exteriors? The musical score?

3. The cast, the demands made on them, the real characters, their copies? How well did they delineate them?

4. The memories about the meeting, being chased from the pool? The anniversary and going again to the pool? The passing of time, tensions in the marriage? Their going to the counsellor, their explanation of themselves, their difficulties, clashes?

5. The counsellor, his listening, the notes on the piano and disharmony, his advice, sending them to the resort?

6. The decision to go, the hopes for the marriage? Arrival, settling in, the house itself, the rooms, the surroundings? The guesthouse and its interiors?

7. Ethan and Sophie, the characters, compatibility, love, falling out of love, rediscovering?

8. Sophie and her discovering the copy of Ethan, his exercising, her response, comparisons with the real Ethan? The copy, his athleticism, not wearing
glasses, handsome?

9. Ethan and his discovering the copy of Sophie? his retreat?

10. Their talking together, puzzling as to what is happening? The real Ethan and his not really being attracted to the Sophie copy? Little interaction? The contrast with the real Sophie, the attraction to the copy, going to the guesthouse?

11. The real Ethan, saying he was getting groceries, going to the guesthouse, the real Sophie coming, the sexual encounter? She thinking it was with the copy? His revealing the truth?

12. The meal with the four, how different, glasses, different hair styles? The discussions? The nature of the resort, to leaving, to staying? The process continuing?

13. The confrontation, the fight, the copy trying to get out of the resort and the barrier? The range of discussions? The two Sophie’s and the conversations? The two Ethans in the fight?

14. The two Sophies dressed in the same way, the look? The decision to leave, getting in the car?

15. At home, the sexual encounter, the order for breakfast – and the real Ethan realising he had left with the copy?

16. What future for each of the four characters?

MEN, WOMEN & CHILDREN

US, 2014, 190 minutes, Colour.
Adam Sandler, Jennifer Garner, Rosemarie De Witt, Judy Greer, Dean Norris, Timothee Chalamet, Olivia Crocicchia, Kaitlyn Dever, Ansel Elgort, Denis Haysbert. Narrated by Emma Thompson.
Directed by Jason Reitman.

There is a paragraph in Gillian Flynn’s Gone Girl which describes the consciousness of the social media generation, that they have little idea of how life was before Facebook, Twitter, Instagram and all the other media that they take for granted and use continuously, even excessively. The consciousness and behaviour of the younger generation is something of a mystery to their parents and teachers.

This is what this particular film is about, but it focuses particularly on the sexuality consequences of social media, the availability of pornography to children at a young age, the potential for addiction – while not letting off the adult generation who take advantage of the Internet, also for pornography as well as for dating sites. Hence the title being all-inclusive.

At first, the film might seem quite depressing to an adult audience, watching the self-indulgent behaviour of parents, their double standards as regards their children, as well as seeing the children involved so early in visiting pornographic sites with consequences for their own emotions, even lack of ability for intimacy.

Audiences might be put off by the explicit references. Because this is a real problem, a more robust sensitivity should lead audiences to face these situations. Ultimately, as with most American films, characters go through crises, in this film some more desperate than usual, but come to some kind of understanding, even hope.

The film focuses on four families, the children all going to the same school and providing interconnections for the plot.

The film uses an unusual device, a cosmic reflection on the place of our planet and human beings in the vastness of the universe. It uses the Voyager journey into space, carrying memorabilia of Earth. The focus is on the writings of Carl Sagan, the film ending with a quotation a bout his view about Earth being just a dot in the universe. Further, there is a narration throughout the film, observing the mundane realities as well as the cosmic dimensions – and it is spoken, often frankly and bluntly, with the perfect British diction and clarity of Emma Thompson.

The main focus is on the parents of a 15-year-old boy, Dan. His parents are played by Adam Sandler (bearded and giving a serious performance with no hints of his usual comic style) and Rosemary De Witt. The father cannot access the Internet on his own computer and goes to his son’s, shocked to find that the boy has accessed many porn sites. And the father himself, sexually needy, visits these sites as well as an escort site which he follows up. His wife, bored, also goes to the computer for dating sites, following through with some dire consequences.

Dan has one of the main cheerleaders, Hannah, as a girlfriend. She supports him as he plays football. She is the daughter of a single mother, Judy Greer, who is living her life through her daughter, photographing her, often in suggestive poses and placing these on a website for her daughter. She urges her to participate in auditions for a reality show. In the meantime, Hannah boasts (lies) to her girlfriends about her sexual exploits with an older man, but then finds that Dan has been affected by his site-trawling and is impotent at his young age, responding only to the pornography.

In quite a different family, Patricia (Jennifer Garner) is a very strict mother, monitoring every move of her daughter, Brandy. Patricia examines her daughter’s computer every day as well as checking on all the calls on her mobile phone. Brandy is something of a loner, though she has also set up a website with bizarre photos of herself. Tim (Ansel Elgort) is a lonely young man, top footballer who refuses to play the game, to the contempt of the rest of the team. His mother has abandoned him and his father (Dean Norris) and announces a new engagement on Facebook rather than direct information to her former husband and her son. Tim and Brandy get on very well together, talking genuinely, true friends – until Patricia intervenes cruelly with sad consequences.
In the meantime, there is Allison, also a cheerleader, who believes Hannah’s stories. She is anorexic, has a crush on a boy, follows it through – again with some dreadful consequences for her to the shock of her father (J.K.Simmons).

As can be seen, there are quite a lot of characters, quite a lot of situations that demand attention and reflection.

This is certainly not the last word on the problems of social media and the consequences on young people’s ability for communication, their lack of communication, their sexual obsessions, the consequences for genuine relationships and intimacy. But, within its two-hour running time, it does raise many questions, implying that there should be authentic responses and hope for integrity.

1. A mirror to contemporary life? Distorted, ugly, exasperating? The film moving to moralising and understanding, hope?

2. The American city, homes, school, football, the corridors, restaurants, hospitals? For an American audience to identify with the characters and situations? Non- Americans? Songs, musical score?

3. The cosmic framework, Carl Sagan, Voyager going into space and beyond? The years of the voyage, the distance, the cargo of memoirs? The perspective on Earth, on humanity, the small dot in the universe? The final poem? Humans alone in the universe, no help from beyond?

4. The narration by Emma Thompson, her British accent and crisp diction, commenting on ordinary things, her straightforward descriptions of crass behaviour?

5. Patricia’s story? Her quiet husband, her love for her daughter, Brandy? A caricature – but possibly like this in real life? Wanting to protect her daughter, by any means? Life at home, her being busy, the computer, her daughter’s phone, censoring the communication? Her threats? Her being deceived? Her brutal text to Tim? The consequences?

6. Brandy, her age, tending to be alone, her relationship with her mother, her father? Her exasperation? Her website and the odd photos of herself? At home, the meals, talk? Tim coming to sit with her? Together, their talking, the bonding, a good effect on Tim? His texting her and her mother replying? Her cycling to Tim, discovering the pills, at the hospital, leaning on him in the hospital and her mother seeing her?

7. Tim, his mother leaving the family, his staying in touch through Facebook, seeing the information about her engagement? Kent, his feelings, being deserted, pressure on his son? Tim not wanting to play football, his anger, the fag comments from the others, the fight in the dining room defending Brandy, going to the counsellor, the counsellor asking him about his beliefs, his cosmic answers? The computer game, his spending a long time aat the game and his growing expertise, the friends on the computer, his father looking at the program, the sexist jokes and his defence of them? His desperation, texting Brandy, his response to the reply, taking the pills, saved, hospital?

8. Hannah’s story? Glamorous cheerleader, boasting about her sexual adventures, lies, sex with the older man and the fellatio? Her mother, encouraging her, the poses and photos, her relationship with Dan, on the football field, cheerleading, the sexual encounter, his impotence, the break, the discussions with him? The television audition? The video and Dan editing it? Her mother, pushing her, the phone call, taking down the website, her mother’s strong stance?

9. Hannah’s mother, fostering her daughter’s ambition, living through her, the excitement? The phone call, the discussions about the pictures on the site, her taking it down? Confronting her daughter? Her daughter’s anger, calling her a bitch? Meeting Kent, going out with him, confessing to him, his stunned reaction, her needing him, together at the end?

10. Don and Helen’s story? The years of marriage, Don and sexual addiction, going to his son’s computer, discovering his son’s files? His own behaviour, wanting to talk with his son, just as his father talked with him when he discovered his father’s magazines? Masturbation? Helen not responding? Tentative relationship? Consulting the computer, Don and the escort, meeting at the hotel, the sexual encounter, the discussions, lying quietly with her? Ending this relationship? Helen, bored, going online, the dating site, the encounter and the sexual response, others, her lies about her sister? Don seeing her? The night after, his preparing breakfast, his philosophical attitude, mistakes on both sides leaving the past going to the future?

11. Dan, 15, his life in the family, at school, football, relationship with girls, Hannah? Age 10 and the experience of pornography, his addiction, the sites, their violence, masturbation, impotent in his relationship with Hannah? Coming to terms with this? Hannah and Dan and interviewing their parents about 9/11, the shock to discover there was no texting in those days?

12. Allison, anorexia, listening to Hannah, a cheerleader, the stern father? The shepherd’s pie, the smell while eating celery? The sexual obsession, sexual encounter, the casual young man, her reaction, collapse, the ectopic pregnancy, her parents’ reaction? Texting, the stone through his window?

13. The picture of teenagers, the influence of the social media, pornography, losing a sense of intimacy and relationship? Adults, marriages collapsing, sexual needs, indulgence?

14. The point being made by the references to RL, texting Real Life, the virtual world compared with action in the real world?

A THOUSAND TIMES GOOD NIGHT

Norway/Ireland/Sweden, 2013, 117 minutes, Colour.
Juliette Binoche, Nikolai Coster- Waldau, Maria Doyle Kennedy, Lauryn Canny.
Directed by Erik Poppe.

A Thousand Times Good night takes the audience into some contemporary war zones, especially Afghanistan and Kenya. It was filmed on location and offers powerful images of these places, ordinary people, terrorists, suicide bombers. Since the film is about a war photographer, the images are vivid and striking. The director himself, Erik Poppe, was also a war photographer and had made documentaries about dangerous places.

The film won the Ecumenical Award at the Montréal film Festival in 2013. Erik Poppe also won a SIGNIS award for his fine film about guilt and repentance in a Lutheran context, Troubled Waters (2009).

Juliette Binoche always makes a significant impression in her films. This is definitely the case here. From the very beginning, her character, Rebecca, is dressed in Muslim clothing, photographing a women’s ritual which, to our horror, is the preparation of a young woman to be a suicide bomber, her prayer and contemplation, the elderly women and the dignity and ritual with which they strap the bombs to the young woman, putting her veil on her. And all the time, Rebecca is vigorously photographing everything. A driver takes them by car into the central streets of Kabul, Rebecca wanting to get out of the car, the explosion following, killing people, wounding Rebecca. This is quite an impact for an opening to the film.

For a while after this, the drama moves very quietly as Rebecca is in hospital in Dubai, her husband, Marcus (Nikolai Coster- Waldau) coming to her bedside and then taking her back to their ordinary life in Ireland. He is a scientist. They have two daughters. With Rebecca, and with Marcus and the daughters, we experience the tension where a mother goes out on dangerous missions, the rest of the family in fear that she will be killed, and, without their admitting it, resenting her absence from home. Gradually, the family quieten down and Rebecca is almost at the stage where she thinks she should not go back on any dangerous commission. However, she is upset when, because of Pentagon influence, New York publishers tell her that they cannot use any of her pictures.

At this stage, the film is an arresting study of a family and their trying to deal with serious challenges. It might be noted that, with a husband as the photographer, this would be a more acceptable situation even if it was not liked. It is a situation where a woman is working in what is considered a man’s world.

The older daughter is involved in a school project about Africa and has the opportunity to go to visit a United Nations settlement in Kenya, near the border with Sudan, with hundreds of refugees, many of them orphans. Rebecca goes with her daughter, even giving her a camera. All is well as they tour the settlement but, suddenly, a group of masked terrorists attacks the compound, the daughter taken to safety but Rebecca automatically going back into photographic action, in really dangerous situations. This means that the tension within the family continues.

At one stage, Rebecca tries to explain to her daughter what it is that drives her to these situations. She has a good eye so is successful as a photographer. But, she says she has always had an inner anger, situations requiring some kind of justice and action and that photography provides proper and creative outlet for her anger.

The film has an open-ended finale, Rebecca returning to Afghanistan, following up the original story, taking photos of yet another young girl as a suicide bomber. But, after the experience of tensions with her daughters, she looks at this same situation much more emotionally. She stands… And the film ends. We do not know what she will decide, what she will do with the rest of her life. This open ending challenges the audience, whether they agree with her or not, whether they have the same experiences of the dangerous situations she observes, whether there is a need for this kind of professional war photographer.

At this is an intelligent as well as an emotional film, highlighting for audiences who have more comfortable lives, how dangerous many areas in the world are and help people, severely oppressed, threatened with death and torture, suffer more than we might ordinarily comprehend.

1. A topical film? War zones in the 21st century? War correspondence? Photographers? In action, in danger, the repercussions?

2. Afghanistan, filming in Kabul? In Kenya, the border with Sudan? Irish settings, the home, the coast? The musical score and moods?

3. The title, Rebecca and her family? The response of Marcus, the children?

4. The reality of terror, correspondents on the spot, Afghanistan, the city and kabul, the preparation of the suicide bomber, the world of the women, prayer, ritual? Islamic beliefs? The driver, the group going to the city, Rebecca photographing everything? The location, her getting out of the car, the igniting of the bomb, the deaths? The reprisal of the preparation of the terrorist at the end of the film?

5. Rebecca, in Muslim dress, her presence in Afghanistan, her skill as a photographer, watching the preparations, her reaction, getting out of the car, the explosion, it, the camera in the dust? hospital in Dubai? Sending the photos to the US? The phone call and the Pentagon forbidding their publication?

6. Rebecca, her love for Marcus, her role as wife, as mother, Lisa and Steph, yet the drive to be away and in dangerous situations, her good eye and photography? Recovering from injuries, Marcus coming to Dubai for her? The gifts for the girls? The tension with Marcus, with her daughters, the angers? Wanting their mother at home? Marcus and his work, science, the children by the sea and the crab race? His attitude to Rebecca, Rebecca and her collecting Steph from school, going to see the rehearsal for the African project?

7. Rebecca and Marcus and their friends, meals, discussions, support? Rebecca getting better, walking with Marcus on the beach, their playful going into the water?

8. Going to Kenya, Rebecca’s gift of the camera to Steph? The UN settlement, on the border, the enormous number of migrants, the children, orphans? Photographing the people? Stig and the United Nations authorities? The news of the danger, Stephanie in the car, Rebecca refusing, photographing, the shootings, the dangers, in the tent, photographing the corpses, getting out? Steph and her reaction, the plan not to tell Marcus? Steph and her hostility? Rebecca and her apologies?

9. Rebecca, explaining her inner compulsion, what she was good at, her angers since she was a child, continued angers, photography as an outlet? Marcus ousting her? Getting into the car with her daughters, Marcus dragging the children out? Rebecca alone?

10. The contact with New York, the change of heart, wanting her to return? At the airport, staying to watch Steph’s performance, her speech, her praise of her mother and the orphans needing Rebecca more than her daughters did?

11. The return to Kabul, the same situation, her different reactions, the emotional reactions, her standing, the audience wondering?

12. The end, Rebecca’s decision – and the audience challenged as to what she would do and why she would do it?

 

 

 

THE CONGRESS

Israel, 2013, 122 minutes, Colour.
Robin Wright, Harvey Keitel, Jon Hamm, Kodi Smit-Mc?hee, Danny Huston, Sami Gayle, Paul Giamatti.
Directed by Ari Folman.

The title is not particularly helpful, even though it comes from the original novel, The Futuristic Congress, by Stanislav Lamb. There is a Congress in the middle of the film but the film is concerned with much, much more than the Congress itself.

In 2008, Israeli director, Ari Folman, made an award winning film, Waltz with Bashir. It was concerned with war in Lebanon, massacres and consequent nightmares for some of the participants and victims. What was striking about Waltz with Bashir was that it was an animated film, an animation feature for adults, very serious, graphic, challenging.

It is taken some years for Folman to follow-up with another feature film. Quite a number of international companies contributed to financing it, a difficult project, with both animation and real life performance.

It is not the kind of film that will appeal to a wide audience. Rather, it will have an appeal to those who like to exercise their imagination in response to film, especially to a film which relies on graphic animation for its impact.

The star of the film is Robin Wright, a star in Hollywood and overseas since her breakthrough role in The Princess Bride. The Congress relies on Robin Wright and her impact and her status. There is discussion of The Princess Bride with a scene where Robin Wright ruefully looks at a poster. At the opening of the film, in real life, the actress is discussing her career with her agent, Al (Harvey Keitel) who takes her to see a producer, Jeff (Danny Huston) who upbraids her for not following the path of a successful career, making bad choices in films, bad choices in life. The new (and final) contract that he is offering her is for a complete scan, physical and psychological, so that she will not have to act any more but that companies will produce programs relying on the information and perspectives from the scan. We do see some glimpses of a science fiction film so produced, Rebel Robot Robin!

In the fictitious real life sequences, Robin has two children, and they live at the edge of an airport in the Mojave desert. A young son, Aaron, (Australia’s Kodi Smit-McPhee) is losing his sight and this makes demands on Robin for her decision, especially when she visits Dr Baker (Paul Giamatti).

She opts for the scan, a spectacular sequence, and then drives, 20 years later, to The Congress, transforming during the trip into an animated character, arriving at the Abrahama Hotel, full of animated celebrities and staff, goes to the Congress where she sings, but a revolution is going on and she falls victim.

Robin does have the opportunity to return to real life, searching for her son, meeting Dr Baker, making an option to support her son.

Needless to say, there is much more going on, especially with the vivid imagination in the animation. A point is made towards the end of the film that drugs are used in order to overcome depression and find some kind of truth, but drugs can also be used in a hallucinogenic way, creating a different truth. The animated world, on the other side of reality, is visually bright, active, hallucinogenic.

One might say that Robin Wright was fairly game in agreeing to perform in this film, open to some criticism about her life and career, but contributing to its continuance by appearing in this very unusual film.

1. A film of imagination? Relationship with a real life? Past, present, future? Animation and the indicating of real life with animation? Musical score?

2. The director, his films and imagination, animation? The title of the original novel, The Futuristic Congress?

3. The real locations, the Mojave airport, the kite and the planes, the interiors of the hangar? The surgery of the doctor? The Hollywood offices?

4. Animation, 20 years into the future, on the road, the transformation, the guard allowing Robin inside? The Abrahama hotel? The staff, many storeys?
Decor? The characters changing, e.g. John Wayne, Marilyn Monroe? The world of hallucinations, the other side from the real world? The meeting, the assembled, the nature of the Congress? Robin and her singing? Meeting with Dylan, the friendship, discussions, the search? Meeting Jeff again? The rebellion? Robin’s arrest, prison, wanting a bullet to the head? In a coma, the doctors and their puzzle, the cryogenics, travelling through the ice, the search for her son?

5. The basis in reality? Al as the agent, explaining the situation to Robin, taking her to the office? The criticism of her choices, in films, must, in real life? Bad choices? The references to the Princess Bride and Robin’s career, beauty, top star? The discussion about the scan, the soap opera, Michelle Williams, the flickering of her eye and the technology not able to fix it? Trite material?

6. Robin and her children, Sarah, her age, with Aaron, the flying of the kite, the danger of the kite in flight, the security guards warning? The images of the kite and the destruction of a plane? Taking Aaron to the doctor, his losing his sight? His personality? Robin making the decision, the images of the transformation, her character as Rebel Robot Robin?

7. Robin’s return, the older Dr Baker, Aaron losing his sight, leaving and going to the other side?

8. Robin, her decisions, the search, going back to childhood images and the kite and the airport?

9. The comments on drugs, anti-depression, facing the truth? Hallucinatory drugs and their creating a different truth?

10. The film’s comment on Hollywood, Hollywood dreams, celebrity, stardom, the nature of acting, taking on characters? A real and unreal world? And
audiences delighting in watching the stories of films, the stories of celebrities and their lives? Are they cartoons?