STARRY EYES

US, 2014, 98 minutes, Colour.
Alex Essoe, Amanda Fuller, Fabianne Therese, to raise, Noah Segan.
Directed by Kevin Kolsch, Dennis Widmyer.

Starry Eyes is a short drama about a young woman in Los Angeles, Sarah, who wants to be an actress. While she shares lodgings with other would-be actors, she considers herself above the. They react badly, especially one alleged friend who continually makes snide remarks, putting Sarah down. In the meantime, Sarah works at diner, feeling superior to the boss the clientele decides to leave.

The catalyst for this is the offer of audition for an independent film. Before the audition, she has a nightmare where she is dramatically nervous, fluffing her lines, her performance completely off when suddenly blood flows from her forehead. Then she wakes up. A premonition. She goes to the audition, does quite well but, when not encouraged by those testing, she has an enormous tantrum in the rest-room – which leads to an invitation to come to the tantrum again as a second audition.

Sarah becomes more and more ambitious, spurning her friends who are trying to make an independent film themselves, eager to be in it. The filmmaker does offer her apart but, once again, she is too superior.

This personal drama then moves towards touches of horror when Sarah is interviewed by very sinister producer and he makes advances. She has to make a decision whether she wants to be a star with the studio or not. She does, and, without realising it, she is making Faustian pact with the devil.

The total of the film seems rather romantic and Sarah is very starry-eyed about her career. Potential audiences need to be warned that after this introduction, the film become something of a slasher-movie with the deaths of her friends being particularly brutal and visually disturbing.

That is not all, the Faustian pact comes to life in quite a sinister way, Satanic rituals.

While this is a tale of an ambitious young woman, it is also a morality tale of the saying: beware what you wish for, you might get it.

1. A personal drama turning to horror, turning to slasher-movie, turning to satanic rituals?

2. LA story, workplaces, the entertainment world, independent filmmaking, ambitions, auditions?

3. Los Angeles, the diner, the apartments, audition rooms, the countryside in the dark? The musical score?

4. The portrait of Sarah, in herself, age, pretty, working at the diner, performing for the customers, the apartment and sharing with Tracy? Erin and her continued snide remarks? Independent filmmakers? The others making the film, Sarah keeping her distance? Going to the audition, the nightmare with blood coming from her head, a premonition? Arriving, the hopefuls, leaving weeping, the performance, her anger in the rest room? The woman coming, inviting her into repeat the tantrum? Her going to the diner, wanting to leave? The interview with the boss and his plea, understanding, and later going back and begging for the job? Feeling superior to others? Her thinking that she was rejected, invited back again? The phone call, meeting the producer, his interview, filming, the sexual advance, her leaving? Confiding in Tracy, Tracy telling the others? Her change of heart? Going back, the producer, the others? The emblem with the Satanic overtones? Her being transformed, sick, looking wretched? The brutality of the murders? Going to the cult ritual, her rebirth? Coming back, beautiful, the wig, with Tracy on the bed, the future?

5. Tracy, friendly, telling others? Danny and his film, Erin and her remarks, the other members of the group? The brutality of the murders?

6. The two holding the audition, seeming sinister, the producer and his Satanic smile?

7. The film becoming a slasher-movie, the visual brutality?

8. Satanic rituals, coven and costumes and masks?

9. The film as morality story, inner Demons, succumbing to them, selling one’ soul, for what? The pact with the devil?

INCH'ALLAH

Canada, 2012, 102 minutes, Colour.
Evelyne Brochu, Sabrina Ouazani, Sivan Levy, Yousef Joe Sweid.
Directed by Anais Barbeau- Lavalette.

This is a Canadian film, directed by a woman, offering a woman’s perspective on the conflict between Israelis and Palestinians as well as the perspective of an outsider.

Evelyne Brochu portrays Chloe, a doctor who has gone to work in the Middle East, lives in Israel, commutes through the checkpoints each day as she goes to work in a Palestinian clinic, working especially for women and their children.

On the Israel side, she is friendly with a young woman who is serving her conscription, Ava, who also works on border protection, examining bags, including Chloe’s. On the Palestinian side, Chloe becomes very friendly with a family, a pregnant woman and her brother. She experiences the conflict of loyalties within herself.

There is a tragedy when the pregnant woman is not allowed through a roadblock, a young Israeli soldier being particularly severe, especially when Chloe confronts him. The birth is difficult, in a car in the traffic, and the child is born dead. The repercussions for Rand include depression, abusive words to Chloe – but, again the path of revenge by becoming a suicide bomber.

The film is often very moving, especially because of the female sensibility of the director, the performers, the screenplay and the nature of the plot. It won a Commendation in the Panorama Section of the Berlinale, 2012.

1. A Canadian perspective on Israel and Palestine? A balance between the two communities?

2. The Israeli locations, Tel Aviv, towns, the terrain? The villages in Palestine, the streets, homes, doctor’s surgery?

3. The ever-presence of the war, the visuals of the wall, its height, length, graffiti, the style of life on the Israeli side, the contrast with the Palestinian side?

4. Chloe, coming from Canada, living in Israel, going through the checkpoint every morning and every evening, her experience in Israel, her friendship with Ava, style of life? The contrast with Palestine, her going to the clinic every day, her dealing with the patients, the women and their children, her relationship with the doctor? Her friendship with Rand and her family, Rand and her pregnancy, Faysal and his work, going to the printers, the posters with the pictures of those were died, suicide bombers? The doctor and his wariness?

5. Chloe’s relationship with Rand, friendship, with her brother, with the children, with the old mother? Chloe comfortable, staying, watching the children?

6. The children, playing, at the wall, the boy in the hero cape, Yousef and his death, Chloe’s response, torn between the sides? Going back and Ava examining her bag, her feeling resentful, talking with Ava?

7. Ava, Israeli, friendship with Chloe, the apartment and flats? Conscription, her work in border control, her dislike of it? Her concern about Chloe, support?

8. Rand, relying on her family, on Chloe? In the car going to the hospital, the roadblock, the harshness of the Israeli soldier, the plea for him to let them through, Chloe and her severe reprimand, his stubbornness? Rand giving birth, getting to the hospital, the child stillborn, Chloe holding it? The change in
Rand, depression, blaming Chloe, her abuse of her, the decision to get revenge, the bag and the bomb, the explosion in deaths? Her face on a poster?

9. Faysal, support of Rand, the family, his work, his friendship with Chloe, the bond with her, getting his sister to the hospital? The sad end of the relationship?

10. The Palestinian background, the families, the old mother? Life in the streets? The children, throwing stones at the Israelis? Indicative of the tensions?

11. The framework of the film, the group going to the cafe, the little boy looking in the glass case, Rand and her suicide?

12. The response of Israeli audiences, Palestinian audiences? The film and its controversies? Winning a Catholic award at the Berlin film Festival 2012?

FLEMING, THE MAN WHO WOULD BE BOND

UK, 2012, 170 minutes, Colour.
Dominic Cooper, Lara Pulver, Samuel West, Anna Chancellor, Rupert Evans, Lesley Manville, Pip Torrens.
Directed by Matt Whitecross.

Fleming was designed for television, broadcast sometimes in four episodes, sometimes in two.

The film goes back into Fleming’s life in the 1930s, his being a correspondent and interviewing Goebbels, his being a man about town, his womanising, his being seen as unreliable. Comparisons were made with his brother, Peter, author as well as highly involved in war activity. There are several scenes with Fleming’s mother, a haughty and disdainful woman, with connections to Winston Churchill.

The film is quite meticulous in its re-creation of the period, of war activity, training in Canada, action in Germany, as well as the background and desk work.

Dominic Cooper seems rather wooden at times as Ian Fleming. Lara Pulver is a presence as Anne, whom he eventually marries. There is solid support from Samuel West as the admiral who takes on Fleming, is often exasperated at his insubordination and his daring but who supports his ideas. Is the model for M. Anna Chancellor has a very good role as, secretary of the admiral, liaison with Fleming, the model for Miss Moneypenny.

The film shows Fleming developing when given responsibilities during the war, always taking risks, always having new and daring ideas, many of which succeeded in practice. Which means that Fleming’s own background is very influential in his imaginative creation of James Bond.

1. The popularity of James Bond? Interest in Ian Fleming? Fleming himself, his life, experience, the background to his novels, his writing?

2. The film designed for a television audience?

3. Britain in the 1930s, London, scenes in Canada in the 1940s, France? The West Indies in the 1950s?

4. Dominic Cooper as Ian Fleming, the credibility of his characterisation?

5. The family background, the father dead in World War I, the mother and her ambitions, idolising Peter, criticising Ian? Peter as a hero, writer, activity in the war, his opportunities, desk work? The contrast with Ian?

6. The opening, West Indies, the yacht, Ian and his wedding to Anne, his character, her character? Finishing Casino Royale? The relationship, sex, with the violent touch? Fleming’s attitude towards women?

7. Fleming as young, the journalist, the interview with Goebbels? As a collector, as a playboy, womaniser? The meeting with Muriel, his love for her, their scenes together, the banter, going to see her and her death in the Blitz? Casual relationships, personal relationships? The meeting with Anne, married, her husband at war? His continued seeing her? The flirtatious behaviour, the violent sexual behaviour? Anne and her wanting him to marry her? Her relationship with Esmond, the wedding? Her regrets?

8. His relationship with his brother, some rivalry, yet his regard for his brother? Their social meetings, the discussions, serious?

9. The manuscript, the Nazi? Godfrey and the interview, offering Ian the job, the risks, his accepting? His being insubordinate? Godfrey, his work, the Navy, old-style, yet interested in Fleming’s ideas? The model for M? Monday, her personality, her work, the banter with Fleming, support of Godfrey, going out with Fleming, his following the woman, the bombing and her being injured? Her being the model for Miss Moneypenny?

10. Fleming and the staff, having to draw their attention, the importance of information going through him? His desk and his office? His creative ideas? The visit to Portugal? Playing cards with the Nazis? Getting information? The Hungarian girl, the rape, killing the Nazi? Fleming’s idea of the advance spies? The reputation for wild behaviour?

11. Going to Canada, the tests, his training, the plans, his return? The American officers?

12. Continuing the relationship with Anne, their encounters? Desmond, the hunting trip and the shooting? Anne’s husband dying? The possibilities for
marriage, the opportunities, Fleming not taking them?

13. The development of the war, Godfrey, the relationship, his having to retire? Monday and her continuing?

14. The 30 squad, the complaints, the scene of the recruiting of the prisoner and his later saving of Fleming?

15. The story of the man who never was, the papers, the body, everything being authentic? Being washed ashore? The effect on the war?

16. The change of admirals, the new admiral and his more severe attitude towards Fleming?

17. The interventions of his mother, meeting with Anne, her disdain of people, Fleming rebelling against his mother?

18. The action in France, Churchill and the decision about the French navy, Fleming’s disobedience, his chauffeur, confronting the admiral who admired him, a successful mission? Reactions back in London?

19. The nuclear documents in Germany, Fleming’s proposal, the trip to Germany, the dangers, finding the town, finding the building, the documents, the man in charge, his collaboration, the arrival of the Nazis, Fleming and his German, his bargaining, but allowing the keeper of the documents to be executed?

20. The end of the war, Fleming and his marriage to end, the honeymoon in the West Indies, his drawing on his experience for his novels, the completion of Casino Royale?

MAPS TO THE STARS

US, 2014, 111 minutes, Colour.
Julianne, Moore, Mia Wasikowska, John Cusack, Evan Bird, Olivia Williams, Robert Pattinson, Sarah Gadon.
Directed by David Cronenberg.

Canadian director, David Cronenberg, has had a significant career for over 40 years, one of Canada’s best and well-known directors. In his early years, Cronenberg made a number of small-budget horror films and has continued this trend over the decades. His dramas, like Dead Ringers, To Die For, Eastern Promises have been impressive, but always with the touch of something weird.

Maps to the Stars is not a horror film as such but there are some elements. This time it is the weird that predominates. It is Hollywood weird.

The Maps to the Stars are something that tourists want when they visit Los Angeles, indulging in the cult of celebrity, curious about the life of the Hollywood names, wanting to see how this other half lives. At the opening of the film, a young woman, Agatha (Mia Wasikowska) arrives by bus in LA, just like all those other hopefuls. We soon see that she is not like this. She is returning home, her face and parts of her body scarred by injuries in a fire. She initially makes the acquaintance of an actor-writer who moonlights as a limousine driver (Robert Pattinson).

We are introduced to quite a number of characters whose lives intertwine. A central focus is on Havana, an ageing star (Julianne Moore in a performance that won her the Best Actress in Cannes 2014) who is literally haunted by her mother challenging her and deciding whether she should do a role that her mother made famous. But, she is ageing, neurotic, narcissistic, self-indulgent, with the expected problems of sex and drugs. She employs Agatha and relies on her – until she become suspicious and gets rid of her.

One of the problems of this quite weird and ugly look at Hollywood is that none of the characters are sympathetic, even Agatha. One of the characters who shocks us is a 13-year-old actor, Benjie (Evan Bird) far too precocious for his age, already indulging in the LA lifestyle, making a sequel to his successful film, Bad Babysitter. He acts like some of the role models that he sees around him, and is consumed by jealousy of the little boy who plays the child that his character babysits, with some dire results.

And then, there are his parents. His mother (Olivia Williams) is his manager, one of those highly controlling mothers but one who is smart concerning financing and contracts but who is quite emotionally unstable. Her very unlikeable husband, a TV personality and author, is played as a really awful man by John Cusack.

While the film is very well-crafted, one begins to wonder about spending time with these unpleasant, sometimes vicious characters. But Cronenberg, the Canadian outsider to the US, is continuing in the tradition of films that take us inside Hollywood, for example Sunset Boulevard, The Player, immersing us in what we hope is a heightened and exaggerated look but which, over the decades, we realise is in many ways truthful.


1. The films of David Cronenberg? Well crafted? The touch of the weird, of the ugly?


2. The strong cast?
3. Hollywood, Agatha’s arriving, the bus, the convention of the girl arriving in Hollywood with hopes? Not as expected? The limousine, her expecting it, Jerome as the driver, the discussions? Going to the site of the house, the Hollywood sign? Homes, shops, restaurants? Film sets? The Hollywood atmosphere? The musical score?

4. Agatha and her asking for the map to the stars? For tourists? The audience and interest in celebrities? Their homes, curiosity items?

5. The portrait of Hollywood, the references to the movies and television, to personalities, the in-talk, the issue of money, fame, the status of directors and their work, the affected and false talk, issues of sex, drugs, alcohol, personal betrayals, exploitation, cutthroat behaviour, madness, child stars and their erratic behaviour?

6. The interconnections between the characters gradually revealed?

7. Aggie, arrival, from Florida, the institution, the past, the fire and the effect on her face and body, her being comfortable in talking about it, her family sending her away? Mental condition? Going to the family house site, Jerome and interest, the date, sharing ideas, falling in love, the contact with Havana, the job the recommendation from the agent? Her duties, shopping, talking with Havana, the embarrassing scene with Havana on the toilet, breaking wind, Havana’s moods? Going to visit her mother, the background story, her being her son’s agent, her father and his professional life, his physically attacking her? Her driving away, Jerome and the sexual encounter with Havana? Going to see Benjie, talking, communicating, his behaviour and mental attitude, the rituals of death?

8. Benjie, his age, as a star, the Babysitter films, the sequel? His friends, the drugs and the drinking, the girls? At home with his mother and father, his mother as his manager, his anger at her? His father and his neglect? His friend and the shooting of the dog? His interaction with the little boy in the film, jealousy, the discussions with him, throttling him? The boy going to hospital? The visual haunting by the little girl in the hospital who had died? A conscience figure? And death figure? His finally going to see Aggie, the ritual of death?

9. The friends, the drugs, the girls, the sex talk?

10. Havana, her wanting to be in the film, her being haunted by her mother, the mother talking to her? The friends and their discussions? Her not getting the part? The sexual threesome? With Aggie, capricious, the shopping, the frankness, firing her, the sexual encounter with Jerpome?

11. Jerome as an actor, writer, driving, the friendship with Aggie, something more? Driving Havana, his eagerness for the sexual encounter? Aggie seeing him, her disillusionment?

12. The scenes of the production company, the filming, the crew, the atmosphere?

13. No likeable characters, satiric on Hollywood, the inhumanity, the critique of the Hollywood atmosphere?

BETTY AND CORETTA

US, 2013, 95 minutes, Colour.
Angela Bassett, Mary J.Blige, Ruby Dee, Gloria Reuben, Malik Yoba, Lindsay Owen Pierre.
Directed by Yves Simoneau.

Betty and Coretta is a movie portrait of two significant widows, Coretta King, wife of Martin Luther King, and Betty Sharbazz, widow of Malcolm X. The film is a tribute to them, showing the strength of the two women, their meeting and friendship, collaboration, and as role models for women in the 20th century?

There are sketches of Malcolm X, his speeches, family life, the Nation of Islam, Elijah Muhammed, his principle of violence, By Any Means, the encounter with Coretta King and her apology, his impending sense of death and his assassination. There is a sketch of Martin Luther King, at home, speaking, in prison, and his assassination.

Mary J.Blige is Betty, a simple woman, a homemaker, with six daughters, devoted to her husband but wanting him to stay home and out of danger. She and her daughters were present when he was assassinated. The film shows her modesty at home, doing volunteer work, meeting Coretta King and speaking at a rally, going on to further studies, teaching, bringing up her daughters, the disappointment of her daughter who suffered from the assassination dropping out of studies, going to France, returning with a child, with a drug problem. The film shows her grandson and his setting fire to the apartment which led to her death.

Angela Bassett is strong as Coretta King, her support of her husband, continuing the march in Memphis just days after her husband’s assassination, speaking to rallies, taking a high-profile, continuing her husband’s work and offering leadership.

The film would have a strong impact in the United States, with women audiences everywhere – thought-provoking for audiences of both men and women.

1. The status of Malcolm X and Martin Luther King and their influence on 20th-century America, race issues, civil rights? Their memory? For the US? For African- Americans? for overseas audiences?

2. The focus on their wives, their lives after the assassinations, their coping in their family life, public life, their achievement?

3. The re-creation of the period, especially the 1960s, each decade following, the look, costumes and decor, the feel? Information about civil rights, the government, the presidents, the progress towards Martin Luther King Day as a public holiday?

4. New York City, Harlem, homes, theatres, assemblies? Washington DC, homes? Memphis? The musical score?

5. Ruby Dee as the narrator, on screen, telling the story, her vouching for the events as a witness, her praise of the two women?

6. The portrait of Malcolm X, the initial speech, Coretta King speaking to him afterwards, her apology, his home life, love for Betty, the children? New York, a sense of impending doom, death? Elijah Muhammed, Louis Farrakhan? The international visits? The preparation for a statement to the UN? His views, violence, the quotes, his changing towards the end of his life? The meeting at his death? Betty and the children present, the effect on them afterwards?

7. Martin Luther King, his speeches, relationship with Coretta, his family, his sense of mission, the achievements of 1963, the death of Malcolm X and his sympathy for Betty, the differences in violence and nonviolence? The scene in prison, Coretta’s visit, the effect on him? The assassination?

8. Coretta King and her, her relationship with her husband, the later issue of the tapes, his infidelities, her response, saying the tapes were private, not available? Saying that her husband was not a saint? Her strong support, continuing his work, insisting that the Memphis march go ahead four days after his death? The support of family and friends? Politicians? The negotiations over many years for the public holiday in honour of her husband?

9. Betty, in herself, the impact of her husband’s death, bringing up the children, finding a home? Her volunteer work? Her studying and degree, teaching, meeting Myrlie Evers? With the students, the projects? The visit of Coretta King? Her daughter, always traumatised by the death of her father? Going to Princeton, had not wanting to go, her leaving, travelling to friends, returning with the boy? Setting up house, the presence of Michael – the later revelation that he worked the FBI?

10. Radio program, the phone call to Coretta? The telling vision interview and her being asked directly about the blame for Louis Farrakhan? The scene with Farrakhan and his group looking at Betty?

11. The influence of J.Edgar Hoover, his hostility towards Martin Luther King, threatening to reveal the tapes as King went to receive the Nobel Prize? Bugging the house, the later production of the tapes? The hostility of the FBI, racism?

12. The rally, Coretta and Betty and their speeches, the impact on people? The bond between the two, their continued friendship, meetings, sharing, collaboration, Coretta speaking to the students? Her sadness with Betty’s injuries and death?

13. Betty, her age, grandmother, the son staying with her, her daughter’s problem with drugs? The clashes, the boy’s anger, setting the fire, the boy and the police? Betty in hospital, Coretta visiting, her death? The pathos of the situation and her death?

14. The portrait of significant women, significant women in the 20th century, role models and leadership?

PASSION

Germany/France, 2012, 102 minutes, Colour.
Rachel Mc Adams, Noomi Rapace, Karoline Herfurth, Paul Anderson, Rainer Bock.
Directed by Brian De Palma.

In 2000 there was a very successful French film, Love Crime, the last film of celebrated director Alain Corneau and starring Kristin Scott Thomas and Ludivine Sagnier. It was an effective crime thriller.

Veteran director Brian De Palma, who was seen in some ways as a successor to Hitchcock in his early days with such films as Sisters, Obsession, Blow out, Dressed to Kill, has adapted the French film for a German- French production.

While the film is set in Europe there are many scenes of German cities, especially Berlin, with great attention to detail and atmosphere, even with a visit to London, it still nevertheless seems an American film.

The setting is the world of big business, advertising companies and competitiveness and rivalries. Rachel Mc Adams is glamorous as Christine, in charge of the German office, demanding on everyone, a sexual predator, and not above taking credit for herself for other people’s work. By contrast, Noomi Rapace is Isabelle, more inventive than Christine, and shocked when Christine takes credit for her work. The other members of the drama are the young assistant, Dani, Karoline Herfurth, sexually active with an infatuation for Isabelle. The man in the drama is Dirk, Paul Anderson, who has undergone financial risks, dependent on Christine, while having an affair with Isabelle.

When Christine is murdered, Isabelle is held under suspicion, but has a sufficiently strong alibi not to be charged. The difficulty for Isabelle comes with Dani, upset by her rejection, following Isabelle and watching the whole murder drama unfold.

The title is rather generic, a more focused title might have given the film more success.

1. The title, the emphasis? For Christine and Isabelle? The passion of power, of sexuality, of control?

2. The film as a remake of a French film? The transition to Germany? The work and career of Brian De Palma? Similarities in themes to some of his earlier films? Interactions between women?

3. Germany, the business world, the offices and buildings? Scenes in London? The exteriors of the German city, offices, apartments, restaurants, the opera, the police precinct? The musical score?

4. Christine and Isabelle, in themselves, their positions in the office, the work on the campaign, the meetings, sharing, Isabelle and her waking in the night, phoning Dani, the photographs of the campaign? The meeting, the show, the good response, Christine claiming responsibility? Sending Isabelle to London, Isabelle and her relationship with Dirk? Her shock at Christine’s behaviour, Christine and her rational explanation, that each would do the same thing to the other? Christine and her New York ambitions?

5. Christine, demanding the office, the issue of the accounts, her hold over Dirk, using it? Using Isabelle? Her schemes, her carry on, Dani and the sexual implications? Christine and her malice?

6. Isabelle, in herself, her work, her ideas, her ambitions, her being hurt, the relationship with Dirk, Dani and her advances, her reaction against her?

7. Christine and the murder? Isabelle under suspicion, her arrest, in jail, her lawyer, the witnesses?

8. Dani, the infatuation, the rejection, following Isabelle, seeing her in action, understanding the plan, confronting Isabelle, revealing what Isabelle had done?

9. Isabelle covering her tracks, playing with the times, the information, the visit to the opera, her being seen because she had taken the wrong seat, witnesses? And the viciousness of her committing the crime?

10. Dirk, the money, his deals, wanting Christine to cover him, her denouncing him, exposed?

11. The police, the types, the details of their investigation and interrogations?

12. The solution, Isabelle’s behaviour, Christine telling the story of her twin sister, there being no evidence, yet her appearing, revenge?

THE BEST OF ME

US, 2014, 118 minutes, Colour.
Michelle Monaghan, James Marsden, Luke Bracey, Liana Liberato, Gerald Mc Raney, Caroline Goodall, Clarke Peters, Sebastian Arcelus, Jon Tenny, Sean Bridgers.
Directed by Michael Hoffman.


Since 2000, movie audiences who have a touch of romantic, sentiment and even sentimentality, have been looking forward every couple of years to a film version of one of Nicholas Sparks’ novels. It began with Message in a Bottle, a high-profile film with Paul Newman, Kevin Costner and Robin Wright. Most audiences seem to agree that the best film version and the most popular was The Notebook with Ryan Gosling, Rachel Mc Adams, James Garner, Gena Rowlands.

The films include Dear John, The Lucky One, Night in Rodanthe, The Last Song.

The Best of Me is more complex than many of the other novels and films. Like The Notebook, it has two time focuses, the present and 20 years earlier. We are introduced to the present and that is where the main story develops. But, all the way through, there are many flashbacks to the earlier time, the main characters in their early adulthood, their meeting, in love, the consequences of a number of surprising events.

James Marsden is Dalton, who is first seen on an oil rig, helping fellow-workers when a vast explosion occurs, which knocks him into the water, leaving him there for a long time, when he is eventually rescued and hospitalised, everybody, including himself, amazed that he has survived. We see Michelle Monaghan’s Amanda gazing at the stars, unhappily married, with a teenage son. What do they have in common?

They both received a message telling them that their old friend, Tuck (Gerald Mc Raney) has died and has left his possessions to them. When they meet, there is a hostility between the two which makes us suspicious. They go to Tuck’s house, look at the possessions, discover photos, and the tension lessens between them.

The story in the present is fairly straightforward. The couple have not seen each other for 20 years and, as they meet we find that Dalton has never stopped loving Amanda. Amanda, on the other hand, is married and has a family. Dalton is free, Amanda is not, and there is her son to think about. We follow Amanda’s confrontations with her husband, her support of her son, the reactions of her husband. On the other hand, Dalton, who comes from a poor redneck family dealing drugs, comes up against his hostile father and his brothers.

It is the story in the past that is presented much more interestingly. It shows the background of Dalton and his violent father and his wretched treatment of his son. Amanda, the other hand, comes from an affluent family and is destined to go to college. They meet by accident, form some sort of friendship, Amanda taking a lot of initiative, Dalton rather shy, leaving his home and being taken in by Tuck who is a generous father-figure.

The way the screenplay gradually reveals the details of the past, some of them quite unexpected, gives some attention to the drama and makes the audience interested in what happens to the couple, especially in view of the fact that in the present they have not seen each other for those 20 years.

Plenty of opportunity for smiles, even more opportunity for tears. But, there is a cause of complaint to the writer and the director: the melodrama of the final ten minutes of the film. At first, we think that it might do what seems over the top, then it seems it won’t - then it does, defying a great deal of credibility. But, allowing for this, The Best of Me offers an opportunity for feeling and sentiment.


1. The novels of Nicholas Sparks? The film versions? Expectations? Emotion and sentiment? The focus on the young, protagonists in middle age, older characters?

2. The town, the homes, the rednecks’ house, the drugs? The mansion? Garage? The garden? The rig and the explosion? Hospital? Musical score?

3. The two time-frames, the present and 1992? Indicating? The dynamic of the present drama? The past revealed step-by-step with gradual revelations? The impact of the last 10 minutes, over the top or not?

4. Dalton, on the rig, his work, the explosion, his saving the men, falling into the water, looking at the stars and thinking of a purpose in life? His survival?
The mystery? Hospital, his mission in life? The news of Tuck’s death?

5. Amanda, looking at the stars, her sadness, her relationship with her son, alienation from her husband? The message about Tuck’s death?

6. The meeting, the clash, bitterness, shock? Leading to the flashbacks?

7. The two meeting after 20 years, cold responses, Dalton in love, Amanda and the memories of the past? The inheritance, the lawyer, going to the house, choosing the record, photos, mellowing?

8. The past, Dalton at school, the car, Amanda helping to push, his shyness, his fixing the car? The meeting, the date, his not turning up, going to the tower, their talking? Amanda and her parents, going to Tulane? Dalton, his redneck family, his father’s brutality, his brothers, the torture and the scars? Meeting, talking, kissing, the possibilities?

9. Dalton and Tuck, Dalton leaving home, in the garage, sleeping in the car, Tuck welcoming him, the garden and the memories of his wife, inviting Dalton inside? Tuck and the shooting of the rednecks’ car? The later vengeance? The trashing of the garden? Dalton’s father as a character, cruel, mocking his son, his brothers? The buildup, Dalton going to the prom, the rifle, his cousin coming in the car, the confrontation with his father, the shot, his cousin dying, his arrest, interrogation, going to jail?

10. Amanda, her husband, the decision to leave him, the son and the accident?

11. Dalton, his decision, the future? His father, reappearing, the clash, his brothers? The pursuit, at the level crossing? Their pushing, his death? His final wishes?

12. The hospital, the need for a heart transplant? Audiences wondering whether there would be all the coincidences for Dalton to give his heart to Amanda’s son? The plausibility? The sentiment? Getting the heart to the hospital? The transplant?

13. Dalton’s death, alive in Amanda’s son? Her future?

14. The final sentiment, credibility – and the undermining of aspects of the film?

PRIDE

UK, 2014, 120 minutes, Colour.
Bill Nighy, Imelda Staunton, Paddy Considine, Dominic West, Ben Schnetzer, George Mc Kay, Andrew Scott, Jessica Gunning.

The title, Pride, might immediately suggest Gay Pride Marches. And the suggestion is not wrong. However, this is a much more complex film in its themes: support for the miners in the 1984 British strikes as well as themes of Gay Pride and, eventually, because of the times, raising the issue of AIDS.

This film may well marginalise different groups from the outset.

With a glimpse of a television interview with Arthur Scargill, the leader of the striking miners, those not in favour of Scargill, of the strike, of the miners and of the labour movement, may not be fans of the film. On the other hand, there is also an initial television interview sequence with Margaret Thatcher speaking, the speech where she emphasised the strength of her leadership and assured everybody that she was not a softie. Those who remember the Thatcher era or who do not approve of her and her policies, may not be fans of the film either.

And then there is the gay and lesbian issue. A fellow-reviewer told me that when he went to see another film, there was a trailer for Pride, and a man near him growled loudly, ‘effing faggots’, and walked out of the cinema until the trailer was over. Anybody sharing that homophobic comment will not like this film at all.

While the strike was in 1984 (and we remember Billy Elliot was set in the same time and context), this was 30 years ago. The portrayal of the gay and lesbian group echoes that of 1984 rather than of the present. There is far more understanding these days, despite homophobic outbursts, and despite communities, especially those Bible-based, but not exclusively, who are still repelled by homosexuality. (As Pride is being released, some of these issues were raised by the Vatican Synod during October 2014, with discussions and struggles to find outreach pastoral language that gives priority to compassion rather than to judgement.

This theme is very much to the fore in Pride. At the Gay Pride March in London, 1984, a small group of enthusiasts collect money to support the miners, feeling that because they understand oppression and hostility, media criticism, dislike and misunderstanding from the community, that they decide to collect the money, calling themselves Lesbians and Gays in Support of the Miners. Further, they want to find a community to give the money to and decide on Wales. They stick a pin in a phone book page, ring the number and the old lady at the other end doesn’t quite understand what she heard but welcomes them.

It is often said that if we don’t understand an issue, we should meet and be with someone who represents that issue so that it has a human face, a human character, and, even if there is disapproval, there is the possibility for understanding and respect. As might be anticipated, this is to the fore in the film when the group go down to Wales and are initially received with hostility by the miners and the community. But, as the weeks go by, as the individuals share with the locals, especially when a rather flamboyant actor, portrayed with zest by Dominic West, shows them how to dance, modern-style, they gradually win over most of the locals.

One particular member of the Miners’ Council disapproves completely of the miners taking supportive money from the group. Her character is very bitter. We realise that while she is entitled to have her views, and express them, we also realise that her hostility and righteousness come from deep anger and judgmental attitudes to life. We are shown that hostile attitudes like outbursts of homophobia can lead to malicious behaviour and cause mischief in a community. Perhaps this is one of the main messages of the film, that holding opinions is one thing, acting out with malice, or hatred, is quite another thing.

While there is a cheerful mood overall in the village which accepts not only the charity but also the different persons and unfamiliar types, there are some very serious undertones to many of the characters.

There is a gallery of characters from the village, including a very serious Bill Nighy and bubbly Imelda Staunton. Paddy Considine is the most sympathetic character, the member of the local council who was commissioned to meet the group, speaks in a gay bar, and begins to understand men and women who are different by being and working with them. The other standout character in the Welsh village is Sian, a housewife who is not afraid to speak her convictions (and who, we are told in the credits, became a parliamentarian after being encouraged to do studies).

Ben Schnetzer is Mark Ashton, very serious about social concern who gets the group going, is behind it in begging for money, keeping up morale, putting on a music concert event to counter the adverse headlines caused by the malicious woman in the village phoning journalists. Others in the group include Adam Scott (Moriarty in the Benedict Cumberbatch Sherlock series), Dominic West as his partner, and George MacKay? as a 20-year-old, struggling with his sexual orientation, his very respectable home and parents, the welcome that he receives in Wales, the support from the group, and his eventually confronting reality with his parents.

The film ends with the Gay Pride Mark March 1985, the end of the year-long strike which included this story of collaboration between gay and lesbians and miners (with final credits information about the Labor Party’s incorporation of gay and lesbian rights into their platform because of the mutual support during the strike and the beginnings of mutual understanding).

20 years ago, an American Archbishop visited Australia and in his conference with the Catholic media explained that he took a year to write any pastoral letter in his diocese, consulting all those with connections to the particular theme so that while he was writing in the Catholic tradition of teaching, he was also writing with the gospel mentality and pastoral outreach. Any person doing something equivalent these days could well have a look at Pride, whether they agree with everything or not.

1. A film of England and Wales? In the 1980s? The lesser-known events about the miners and Gay Pride? A film of exuberance and optimism?

2. London, Gay Pride March, life in the inner city, shops and streets, recording studios, auditorium? Bromley in the suburbs? The musical score and songs? The feel of London?

3. The comparison with Wales, the countryside, the village, homes, the hall? The feel of Wales at the time? The Welsh style score?

4. Arthur Scargill, his role in the miners’ strike in 1984, audience reaction to him, to his cause, leadership? Seeing him on television, his words about the strike? The strike going for so long, the issues, industry, the effect on the country? The closing of the mines? The need for help and support, especially for families and communities? The hardships and experience?

5. The contrast with Margaret Thatcher, her leadership at the time, against the miners, her television clip, her comment about leadership and not being soft? Hard stances on the miners? Her not believing in society but individuals? Crushing the miners, the year-long strike, the end, the feeling, the miners and some sense of betrayal?

6. The status of gay and lesbian men and women at the time? a feeling of oppression? Some sympathy? The decision to collect for the miners, at the March, establishing the committee, Mark and his leadership and inspiration?

7. The committee, the members, Mike and Mark, Jonathan and Gethin, their choices, Steph? The choice of Wales, the phonebook, the telephone call, the lady at the end of the line, misinterpreting? Dai and his coming to London, discussions, sharing, his speech in the club, the response, success, going home, preparing the locals to meet the gays and lesbians?

8. The miners, the reaction, homophobia, their imaginations? The film showing the clubs, the behaviour in the clubs, the relationships? The group arriving, travel on the bus, the map, their searching? The silence in the club, many walking out, the response of the malicious woman?

9. The village, Dai and his wife, their talking? Sian and her husband, her children, her stances, unafraid? Cliff, Helfina and their support? Helfina and the welcome, urging the young men to approach the visitors? Jonathan, his exuberance, dancing, the women enjoying it, the men wanting to learn? The fact of the miners and their families and the visitors being together, sharing, staying in homes, changes of attitude?

10. Helfina, cheerful, urging people on, her role in the committee?

11. Cliff, serious, at the meetings, standing at the gates of the mines in demonstration, his own homosexuality, the malice of his sister-in-law, the memory of his brother?

12. Maureen, on the committee, anti the gays, her own sons, malice, decision to phone the media, the response, her causing mischief, her changing the time of the meeting? Helfina and her anger and hostility?

13. Mark, earnest, his ideas, with the group, with individuals, arranging everything, the meetings, the travelling to Wales, his role in Wales, his success, his later depression, meeting his old friend, the issue of AIDS?

14. Jonathan and Gethin, partners, Gethin running the shop, quiet, the memories of his mother and her not accepting him? The Welsh ladies, urging him to do something about his family, after 16 years, his going to visit, his mother greeting him, later appearance at the March?

15. Jonathan, actor, extrovert it, older, his participation in the group, talking with the people, the dancing and making bonds? His love the Gethin? The story of his having AIDS, the second registered on the AIDS list, and his survival?

16. Michael, devoted, as a person, his work, Mark telling him off – and the later reconciliation?

17. Joe, young, from Bromley, his middle-class home, training to be a chef, hiding his sexual orientation? His family not knowing? His lies about going to London, to the March, to the group, becoming part of the group, affirmed, deceiving his mother? Going to Wales and his enjoying it? Going to the club, the men encouraging him to connect? Going home, the discovery of the material, the party, his mother being upset, his being ousted and his decision to leave
home?

18. Steph, the lesbians, part of the group, the other two women, as a couple, the questions about their being vegetarians, their rebelling and wanting a women’s group?

19. The Welsh and the visit to London, the visit to the clubs, the drinking, the gossip in the room, their laughter?

20. The collaboration between the two groups, mutual sense of oppression, empathy? The media and the vicious attacks on them? The decision to hold the concert, the musicians, the records, the auditorium, the performance and the success?

21. The Gay Pride March 1985, the smaller group, augmented by the arrival of the Welsh? The result of the bonding?

22. The shadow of AIDS in the mid 1980s?

23. The film as a celebration – sharing and knowing how the other half lives?

FURY

US, 2014, 134 minutes, Colour.
Brad Pitt, Shia Laboeuf, Logan Lerman, Michael Pena, Jon Bernthal.
Directed by David Ayer.

It is surprising to find a World War II film, with such a big budget 70 years after the events portrayed. After all, Brad Pitt’s previous film was the futuristic zombie film, World War Z. In many ways, Fury is a strong reminder of so many of the films of the past, the events of the American troops moving forward into Germany in the last months of the war.

In fact, Fury is the name written on the gun of an American tank. We focus on the tank and its five-man team. There a number of smaller roles in group military scenes as well as in the town occupied by the Allies but the main focus is on the group of five. Brad Pitt is the commander, strong-minded, tough, with a knowledge of German, and an ability to read his men and control them. Shia LaBoeuf? is a tough young man and a continual Bible reader, able to quote Isaiah chapter 6 and God calling the prophet into action. Michael Pena is Hispanic. And Jon Bernthal is a grizzled veteran, aggressive, sometimes obnoxious, but with a deep-down heart.

The other member of the group has been killed and they are sent a very young man, played by Logan Lerman, as the replacement driver.

One of the themes is the father-figure, mentor role played by Brad Pitt in helping the young man to adjust to the war situation after being only eight weeks in the army. Norman does not want to kill, lets a young German survive, to the anger of the other members of the group. In many ways, the film is the story of the blooding of Norman, his being transformed into a fighter and a killer.

There is also another theme for Norman. When the Allies capture and occupy a town, the commander sets himself up in a house, a reluctant woman allowing them in. Quite a lengthy part of the film is taken up with quiet time, a meal, cleaning up in the house. Pitt suggests that Norman and the young woman in the house go into the bedroom, a sexual initiation. This also has an emotional effect when the house and the town are bombed.

In the latter part of the film, Pitt’s tank is the only one to survive an onslaught. Soon they encounter several hundred German soldiers on the march and decide that they will stand their ground. While they cause a lot of destruction and death, it is finally a moment of self-sacrifice. Some commentators have found that the last 10 minutes undermine the previous part of the film – this review disagrees because the experience of Norman parallels his previous encounter with the young German soldier.

The re-creation of war, the military, the town occupied and bombed, the final stands are meticulously recreated. The effects and action are impressive. However, one needs to be in the mood to watch such a grim film and to reflect on the issues it raises about war and men in war.

1. World War II? Audience knowledge of the war? Feelings about the wall? Sense of history? Perspective?

2. The title, its implications, in the context of war? The word inscribed on the cannon on the tank? The word glimpsed throughout the film?

3. Germany, World War II, the history of the war, American participation? 1945, spring, the final month of the war? The snow, the fields, the towns, the town squares, homes and interiors? The tanks, their equipment?

4. The action, the stunts, the special effects, the score?

5. The cast, Brad Pitt and his status, the other members of the cast, the images, American?

6. The tanks, their role in warfare, the teams, the leader and the influence, the driver, the gunners, all working together? American tanks? German tanks?

7. Brad Pitt as the leader, his age and experience, knowledge of German, tough decisions? The other members of the team, Gordo and his Hispanic background, Bible and his reading of the Bible quoting it and Isaiah 6, Coon-Ass? and his tough stances? Taunting Norman? The death of the other member? The arrival of Norman?

8. Norman, his age, eight weeks in the military, lack of experience, arriving, the team’s reactions? Young and shy? His letting the German live – and the repercussions for him at the end of the film? In the tank, in action? With the leader, the bonds, the father-figure? In the town, with the mother and her daughter, the quiet experience, looking at the girl, the leader advising them to go to the bedroom, the response of the girl, consensual or violation? The effect on him? Being a man? The bombing of the town, the home, the death of the girl? His work in the tank, on the lookout, seeing the squad of Germans? The shooting, the destruction, the crossroads? The battle, and his being left alive?

9. The town, the American occupation, the reaction of the men, the leader and Norman in the house, the meal, the woman cooking, her fears, the young girl, the sexual situation, her death?

10. The battle at the crossroads, each of the group giving their all, the leader, his death? Norman as the sole survivor?

11. The film 70 years after the events, re-creating them, exploring their meaning and the meaning of war?

THE YOUNG AND PRODIGIOUS T.S. SPIVETT

Canada, 2014, 91 minutes, Colour.
Kyle Catlett, Helena Bonham Carter, Judy Davis, Callum Keith Rennie, Niamh Wilson, Jakob Davies, Dominique Pinon.
Directed by Jean- Pierre Jeunet.

An entertaining film, serious and humorous, some interesting characters, some offbeat situations, and a general feeling of niceness (except for Judy Davis’s character who has an angry outburst and some expletives which seem a bit out of place for the intended young audience). The photography captures the beauty of the Canadian and American countryside, especially if you see it in 3D (highly recommended because it is excellent use of 3D).

And who is T.S. Spivet? Actually, this is a question that the academics at Harvard are asking.

Let’s go back a little. The setting is a farm in Montana. Father, Callum Keith Rennie, is an old-fashioned cowboy type, not so well-educated, but practical. We might wonder how met his wife, Dr Clair, a very sympathetic performance by Helena Bonham Carter, who is dedicated entomologist, continually inside studying her insects. They have two children, twins. One of them takes after his father, out in the paddocks, playing with guns, a roustabout. He belongs very well with his younger twin. T.S.is intellectually curious, absorbed in experiments and calculations, expert in maths and physics. The twins are 10 years old.

When there is a sadness in the family, T.S. decides to send in one of his constructions for a competition. Not only does he win, he is invited to travel to Harvard to receive this award and speak. What is the 10-year-old to do?

And this is the delight of the rather tall tale where T.S.cannot tell the family what he has done. He impersonates his father on the phone so that Harvard (that’s Judy Davis on the other end of the phone) assumes that the winner is an adult.

Then the film become something of a road movie, a railroad film, as T.S. runs away from home, uses his wits as he travels across the country, encountering all kinds of people, all of whom are sympathetic, a woman selling food in a, a farmer giving him a lift, various characters giving him wise advice…

The people in Harvard must be very balanced types because it doesn’t take them long to accept T.S. there are many comic touches as he prepares for his speech, is dressed formally, surprises the public that he is a young, but manages to get out some words for his speech. He delights everyone. We can see that he is young, but everybody can eventually tell that he is definitely prodigious.

Of course, there is a happy meeting with his parents, their pride in him, and, one presumes, a prodigious life in physics and experiments in Harvard and beyond.

The films made by French director, Jean- Pierre Jeunet, noted for his often delightfully eccentric films, especially Amelie. He also directed Delicatessen, A Very Long Engagement, as well as, in the Alien series, Alien Resurrection. One feels his delight in making the film, creating the characters, with the fine photography and the special effects, especially for 3D, and he, once upon a time, might have been young and prodigious himself.

It definitely is very entertaining.

1. An engaging film? T.S.himself? Characters, situations, events? A different kind of film?

2. The Canadian production? The career of Jeunet? His imagination? His cast?

3. A beautiful film, 3D? The feel of the farm, going across the United States, roads, trains, diners, Chicago?

4. Harvard, University, the offices, the social occasions, the awards, the venue? The musical score?

5. The title, the focus on T.S? The narrative, voiceover? Confiding in the audience? Audience empathy for him?

6. The boys, twins, seeing them together, the differences, the clever boy versus the active boy, at play, on the farm, the animals, the relationship with their father? The gun, the accident, the boy’s death, its effect on everyone, on T.S., his blaming himself?

7. T. S., his age, experience, on the farm, with his brother, with his parents? His interest in science, mathematics, a clever boy, arithmetic and physics? At school, with the other students, teachers? Relationships? The project? Sending it to Harvard? The phone call, his award, pretending to be his father? The invitation and his decision to go?

8. His sister, bored with life on the farm, interest in beauty competitions, watching the television, discussions with her mother? Her acting and training? Her friends? Her place within the family?

9. The father, a good man, the farmer, practical, relationship with his children, love of life, the details of his work and life on the farm, in the house?

10. The mother, her personality, interest and insects, study, the specimens, and knowledge? Looking after the family, love for her husband, for her children? The death of her son? The contrast in behaviour from that of her husband?

11. T.S., his plan, packing, leaving without telling his parents, passing his father’s vehicle, getting the lifts, going to the railway, stowing away in the carriage, the range of people he met, being careful, the diner and the woman and her concern? The eccentric man, his advice? The truck driver and the risks? The range of people helping him? His adventures in Chicago, the dangers, the dam?

12. Harvard, the official, the type, the phone call, getting excited? The shock at seeing the boy, adapting?

13. With the adults, dressing, the occasion, the social, the manners, range of people, the award, his speech, awkward, the response?

14. The television, his sister watching him and her excitement?

15. The parents, coming to Harvard, the official and her anger, the family together, their pride in the son? An imaginative film?