ROCK THE CASBAH

Morocco, 2013, 101 minutes, Colour.
Morjana Aloui, Nadine Labaki, Lubna Azabal, Hiam Abbas, Omar Sharif.
Directed by Laila Marrakshi.

We don’t often see films from Morocco, so this is a welcome opportunity for the audience to immerse itself in a country where many films are made, mainly American and biblical period films, but whose way of life, in an Islamic country, is little known.

While there are some serious things in this film, it opens with panoramic helicopter views of a Moroccan city, the coast, the beach full of people, a sunny Mediterranean country. And, in the background, Bing Crosby and Bob hope singing We’re off on the road to Morocco (which has the classic lyric, “like Webster’s dictionary, we’re Morocco-bound”).

We meet an old man walking in the spacious park grounds of his mansion, telling us about his movie-going in the past and our sometimes mistaking the movie for reality. He is played by Omar Sharif, reminding us of his more than 50 year film career, acting at the age of 81. But, as we watch him walk, goes into a room where a body is being prepared for burial. He confides to us that it is his. He will make a number of appearances during the film, a genial ghostly figure, commenting on his life and his family.

Because this is one of those films where a significant figure in the family dies, everyone gathers for the funeral rites – in the reading of the will.

One of his daughters arrives from the United States where she is a film star, portraying terrorists (and we have a glimpse of one of her films towards the end with the family watching, her grandmother taking it rather literally). Her husband is a director of horror films and she brings her little son to Morocco. She has left the Moroccan way of life behind as well as her family and, though sometimes lonely, she is an American. She has three sisters, though one of them has died long since. Another is a teacher, devout, patriotic, a touch hard, with a supportive husband and a son who has a camp manner and wants to sing in Broadway musicals. The other sister is bored with life, lazy, and indulging herself in corrective surgery for her vanity.

Interesting is the widow, full of grief and tension, snapping at the servant who has been with the family for 30 years. She is played by the Palestinian actress, Hiam Abbas.

The film is divided into three days: the living, the burial, the separation.

Which gives us plenty of time to get to know the characters, their strengths and weaknesses, the interaction of the sisters, the importance of their mother, the importance of the maid and her son who was involved with the daughter who died. There is also the dead man’s brother, unmarried, rather eager to get his hand on his brother’s will as the male heir with priority in Moroccan law before women, even the deceased’s wife and daughters.

But, as we might guess, these reunions are far from happy and we become aware of secrets and lies, secrets gradually being revealed, some devastating consequences for lives.

The film has a strong feminine sensibility, the writer-director, Laila Marrakshi, who was written the female characters with insight and some sympathy.

Looking at this affluent Moroccan family, with action mainly within the house, though there are some sequences in clubs and streets outside the house, we realise that Morocco offers a rather more open society (even if still fairly patriarchal), behaviour, dress for women, prayers and rituals than in, say, the Islamic Republic of Iran.

Always interesting, always humane.

1. A Moroccan film, Morocco in the 21st century, an affluent family, secrets and lies, death and the gathering of the family, clashes, love, the will and the consequences?

2. The film immersing the audience in Morocco, the scenery, the city, the beaches, the mansions, the bars, the contrast with the streets? Issues of class? Issues of religion and observance? Islamic tradition? The musical score, the range of songs?

3. The introduction, the jaunty credits, the beauty of the city, the people on the beach, listening to Bing Crosby and Bob Hope on the road to Morocco? The arrival of the plane, Sofia and her return with her son? Coming home, the passport control, impatience, the acknowledgement of the importance of her father and her being met and let through, the chauffeur driving? Setting a tone? The initial perspective from Sofia’s point of view?

4. Omar Sharif as Hassan, the status of the actor and his screen presence for more than 50 years, at age 80? His talking to the audience, talking about going to the movies, reminiscing, the theme of movies and reality, confiding in the audience? The camera tracking to the dead body, his explaining that this was he? Dead, his being washed, his brother and the touches of resentment, the doctor? Hassan observing everything? A presence throughout the rest of the film, talk about him, the photo, memories, love and hate? His appearances, the encounters with Noah, sitting by the grave and talking about himself, the isolation of death? The revelations about him? Omar Sharif being such a pleasant presence, audience judgement on him affected by his genial comments?

5. The family, the various identities, the mother and her grief, the three daughters, their husbands, the children? Hassan’s brother? The chauffeur? Yacout and Zakaria? Introduction, getting to know the characters, sympathies with them, growing sympathies, changing sympathies?

6. The structure of the three days: the living, the burial, the separation? The rituals? In the Islamic tradition? Mourning, mourning clothes, sitting in grief, the prayers? And the reading of the will?

7. Secrets and lies, with each of the characters, the emotions and puzzles, the gradual revelations, anger, sadness, peace?

8. The mother, her dignity and bearing, address, the preparations for the funeral, her being critical? Yacout and the massage, irritation, telling Yacout that she must go? The upset? The relationship between the two, the years, Yacout, her infidelity, the mother knowing the truth? The mother and daughters, the response to each of them, the daughter who committed suicide, Sofia returning from America and her way of life, Kenza and her being a teacher, proper, patriotic, religious? Miriam and her self-indulgence, laziness? The ceremony, the mother unable to sleep, coming to the room with her daughters? The ceremonial meal? The will, and in knowing the truth all the time? Reconciling with Yacout?

9. Hassan as a self-made man, in Moroccan society, in the business world, the scene with all the cars in his garage, his wealth, yet not supervising it well? The past, his strict supervision of the girls, their dates on coming home? The relationship with Leyla, her son? Sofia finding the photo? Leyla and her pregnancy, the abortion, and suicide? The will, the bequest to Zakaria as his son, the brother and his expectations and discussions with the women?

10. Sofia, her son, leaving Morocco, in the movies, portraying a terrorist – and all watching the DVD later, with her grandmother taking it a touch realistically? The separation from her husband, his being a horror film director and famous? The son and care for him? Different languages spoken? With her sisters, learning more about them, the reaction to being in America, Kenza’s anger, the discussions with Miriam, drinking the beer? Zakaria coming to the house, going out with him, his liaison with the mother of his child in the bathroom? The effect of Leyla’s death, committed to life in America, but alone, lonely, the will, her son and his wanting to be with his father? Jason returning at the end, the reconciliation?

11. Kenza, faithful, a teacher, concern about her glasses? Relationship with her husband? Her son, touch of camp, the ring, his wanting to be a Broadway singer, singing to Sofia? Kenza upset, smoking, drinking the beer? Declarations about religion and patriotism, anti-US? The severe outburst about Zakaria and Leyla? Coming to peace? Her husband and support, but in the background?

12. Miriam, her age, disdain for her husband? Beauty, attraction to the surgeon, the extensive surgery and its effects? Her daughters, offhand, bored, drinking, our attitudes, the discussion with Sofia?

13. Leyla, young, to be an actress, the relationship with Zakaria? The revelation that she was pregnant, being sent away for the abortion, despair and killing herself?

14. Zakaria, his mother, coming to the house, showing Sofia all the cars, not knowing the truth that Hassan was his father, the revolution, his attack on his mother? His studying to be a doctor, dropping out, relationship with Leyla, drugs, the DVD, the shop and piracy, going out with Sofia, the mother of his child and the sexual encounter? Going back to the house, the reading of the will, the truth and the effect on him?

15. The drama of the reading of the will, secrets and lies, the revelations, the brother and his expectations, the reaction of the daughters? Zakaria and the house, his inheritance?

16. The final scenes together, people at peace, looking out the window and Jason and his return?
17. Portrait of a family, portrait of an Islamic family in contemporary Morocco, the contrast with lifestyles in Morocco and countries like Iran, the status of
women and the discussions about women’s issues, women and their appearances, clothes, traditional and modern? The audience immersed in the life of Morocco – at least in this limited but focused situation?

RIPLEY UNDER GROUND

US, 2005, 103 minutes, Colour.
Barry Pepper, Jacinda Barrett, Ian Hart, Clare Forlani, Alan Cumming, Tom Wilkinson, Douglas Henshal, Willem Dafoe, François Marthouret, Simon Callow.
Directed by Roger Spottiswoode.

Ripley Under Ground is based on a novel by Patricia Highsmith. Previous films about Tom Ripley, his character, his deceit, vanity include The Talented Mister Ripley, Anthony Minghella’s with Matt Damon, Rene Clements Purple Noon, with Alain Delon, Wim Wnnder’s The American Friend with Dennis Hopper Ripley’s Game with John Malkovich.

Compared with the other films, this person is rather low-key, in its plot, with comic touches, in the performance of Barry Pepper as Tom Ripley. This is an English production with a strong English supporting cast.

Ripley is performing in a drama on the London stage, has some friends involved in the art world, including Alan Cumming as the dealer, Claire Forlani as an accomplice, Ian Hart as a forger. Ripley becomes entangled with a young Frenchwoman, played by Jacinda Barrett, who takes him to France.

The central crime focuses on a painter, played by Douglas Henshal, who is killed in a car accident after his proposal to Claire Forlani being rejected. Ripley’s persuades the group to pretend that the artist is still alive and for the forger to do his paintings so that they continue in value.

There is some tension within the group, trying to keep face, trying to pretend that the artist is still alive but hidden away in France. The drama comes to a head with Willem Dafoe as an art expert wanting to buy and Tom Wilkinson as a British detective.

The film was directed by Roger Spottiswoode who has directed a number of films, especially thrillers for many years. Turner and Hooch, Under Fire, Tomorrow is Forever.

1. Patricia Highsmith novels?” About murder at the opening of the film? Creating the character of Tom Ripley? The series of Ripley films? His character, psychology, crime, charm?

2. The present cast, the director and his action films? The London settings, the French settings, the Eurostar? The art world in London? Paris, the country mansion? The French château? Cars, chases and crashes? The musical score?

3. The introduction to Ripley, acting, the interchange with the director who didn’t like him? The on-stage performance? Friendship with Jeff, Cynthia, Bernard? The aftermath of the performance? Ripley outside, the car, stealing the money,Heloise asleep, waking up, her boyfriend and his aggression? Inviting them to the party, the exhibition? Derwatt and his proposal to Cynthia, the embarrassment, her refusal? Driving, the pursuit, the crash?

4. Ripley and his taking over, the situation, taking the body, putting it in the freezer? The pact between the? Jeff as the manager of the new company? Bernard, his nervousness, being persuaded to do the paintings? The discussion about the loss of money if the news of the artist’s death came out? The exhibition, the sales?

5. Ripley, going to France, the encounter with Heloise’s father, his antagonism, staying, the father warning his daughter about Ripley’s reputation? The two in love? His insinuating himself into the household?

6. Murchison, the discussions with Jeff, his being a collector of the artist’s paintings? Offering the cheque? Getting the painting? Suspicious? The threats about the police? His going to France, Ripley disguised as the artist? Murchison and his explaining about the use of cobalt blue and other developments that artists make? The confrontation, the threats? Ripley unmasking himself? Murchison’s murder, the dogs taking the wig, Ripley burying Murchison in the garden? The dogs and the wig, almost being exposed? Heloise throwing it in the rubbish?

7. Webster, his arrival, interrogation of Ripley, working in the garden, the comment on the tomatoes? Ripley and his answering all questions? Heloise and her responses? Webster returning to London, meeting with Bernard, the confrontation, Bernard trying to tell the truth? Ripley and Bernard, confrontation, Bernard hitting him, Ripley moving Murchison’s body, thwarting Webster? Heloise having the body in her room? The different burial place? The two returning to London, Heloise complicit, and talking of killing her father?

8. Webster’s threats, going back to London, Ripley and Heloise on the train, the search? Ripley and his confronting Jeff? Cynthia, their having made a deal with Webster? His locking them in the elevator? Getting the car, getting the body out of the freezer, with Bernard, the crash, finally rescuing Bernard from the fire, Bernard becoming demented and taken away? Ripley putting the body in the car, setting it alight?

9. The preparation for the press conference, the news of the artist’s death? Webster and the police, having pursued Ripley, his being too smart for them?

10. Ripley and Heloise, surviving for another story?

11. The classic status of Tom Ripley as a literary villain, and as interpreted in the various movies?

THE RISE

UK, 2012, 108 minutes, Colour.
Luke Treadaway, Timothy Spall, Matthew Lewis, Iwan Rheon, Vanessa Kirby, Neil Maskell.
Directed by Rowan Athale.

The Rise is a very clever crime film. A young drug dealer, Luke Treadaway, is entangled with a seeming friend who is a dealer and is set up to take the fall, going to prison.

When he gets out of prison, he decides to get his revenge, calling on favours from his old friends as they plan a robbery which will incriminate the dealer.

The framework of the film is having the young criminal tell his story to a sympathetic policeman, Timothy Spall, who believes him. But, the whole crime has been so well engineered, taking advantage of the skills of his friends as well as his training them so that they commit the crime with expertise and disguise but the dealer is implicated.

1. A crime thriller? The young men? The drug trafficker? The police? The inspector?

2. The London settings, flats, parks, clubs, a realistic setting, with surrealistic touches, colour and style? The musical score?

3. The title, the name of the club? Ironic?

4. The structure of the film, Harvey being interviewed by the inspector, the flashbacks, to his time in jail, getting out, the planning of the job? The current situation, his being bashed, his flashbacks about the job? The audiotapes? Edited?

5. Harvey, his explanations of himself, at home, being a solicitor, the drugs, Roper and his setting him up, arrested, going to jail? His explanation of the drug setups to the inspector, the role of the trafficking, the victim going to jail to protect the trafficker? The experience of jail, coming out, meeting his friends, wanting revenge? The plan for the robbery? The need for money? Robbing Roper? The different reactions of the young men, their friendship with him, the discussions, coming in? The young man trapped in the garage, setting it on fire and Roper trying to intimidate? Harvey visiting him in hospital, his new determination to participate?

6. The planning of the robbery, the maps on the wall, Harvey and his lecturing, practising with the arrows, the engineering, the electricity, the alarms…? Harvey explaining all this to the inspector?

7. The inspector, sympathetic, listening, interested? His being called out, his assessment of the situation, believing Harvey, letting him go? His return, tapes, the truth? Harvey’s challenge to him? Throwing the tapes away?

8. Roper’s personality, his control, using people, antagonism towards Harvey? Harvey’s interview with the manager, to be a member of the club, his being refused, but his being able to case the room at the same time?

9. The reality of the crime, Harvey being bashed, the arrow with the alarm, the safe, going through the water channel? The cash register robbed? The safe of being robbed? The perfect timing?

10. The four getting away with the money, Roper in prison, their future?

DON'T SAY A WORD

US, 2001, 113 minutes, Colour.
Michael Douglas, Sean Bean, Brittany Murphy, Jennifer Esposito, Victor Argo, Famke Janssen, Oliver Platt.
Directed by Gary Fleder.

This is a New York City thriller with psychological overtones.

In 1992, a robbery takes place led by Sean Bean, always a reliable villain. One of his associates robs him of a jewel, his murder witnessed by his daughter. He then serves time in prison and, on release, wants to recover the jewel. The number to indicate where the jewel is hidden is imprinted on the memory of the daughter, now in psychological care.

The Director of the Institute, Oliver Platt, asks a fellow psychologist to take on the case. He is played by Michael Douglas and the daughter by Brittany Murphy.

The robber has connections and knows the movements of the girl as well as of the psychologist, setting up a vantage point at a window opposite the psychologist’s apartment and then abducting his daughter. There is also a deadline to be met, which means continued pressure on the psychologist, his pressure on the girl, his concern when his daughter is abducted and concern for his wife.

The climax is in a cemetery, split-second timing, and eventually a satisfying outcome for everyone concerned.

The film was directed by Gary Fleder, who made an impact with Things to do in Denver When Your’e Dead, Imposter, The Runaway Jury and Kiss the Girls.

1. Psychological thriller? Heist thriller? The two themes blended?

2. The two time eras, 1992 and the robbery, 2001 and the psychological drama, the final action? Musical score?

3. 1992, the cars waiting, the bank, the robbery, timing, the vault, finding the jewel? New York , the police, the pursuit, the explosion? Patrick and his frustration? The later flashbacks for what had happened, the streets, the subway, Had Island, the headlines and the girl wandering, indication of her father’s death?

4. 2001, City, Thanksgiving, Nathan Conrad and his practice, relationship with Aggie, buying the turkey? Jessie and the affectionate scenes? The message, going to the institution, Dr Sacks, Elizabeth, her situation, Nathan assessing it, the planned return? Going home, buying the turkey, Aggie and her broken leg?

5. The phone call to Nathan, Patrick and his threats? The audience knowing the headquarters in the opposite building? The set up of the surveillance? The abduction of Jessie? The parents response? The mission, getting the number from Elizabeth before 5 PM?

6. Nathan, hurrying to the hospital, breaking into the office, getting the file Elizabeth, the articles, information? Dr Sacks and his reaction? Nathan and his treatment of Elizabeth, getting her confidence, reactions, the doll, concern about Jessie? Nathan taking her out, the injection to the guard, the car, going to the venue? Taking the boat, going to Hart Island, the mystery of the number? The variety of flashbacks, Elizabeth is a little girl, after the robbery, with her father, the pursuit, his being killed? The cemetery, the number?

7. Patrick, in jail for 10 years, wanting the jewel, his henchmen? The surveillance screens? Watching Aggie, trying to phone, realising they were in the opposite apartment? Breaking the mould, attacking the gang member? Patrick and his gang member on the motorbike, feeding the information?

8. Jessie, with her guard, the food, Patrick attacking him?

9. Dr Sacks, is reactions, the news of his girlfriend being taken, phoning Patrick and reassuring him?

10. The detective, the dead girl, Thanksgiving, the post-mortem, her friend identifying her? The photos, the lead to Dr Sacks, his denials?

11. The information about the boat being taken, the detective going to Hart Island, pulling the garden, Patrick shooting her, her recovery, Nathan thinking her?

12. The meeting at the cemetery, the number, Elizabeth and attracts, writing it backwards, the first search in the grave, the failure, the second search? Henchmen and their being short, Patrick and his malice, the jewel being his, pushed into the dugout space, Nathan and the machine handle, Patrick being overwhelmed by the soil?

13. Reunited, the happy ending? A satisfying, if perhaps implausible, thriller?

HONEYMOON

US, 2014, 87 minutes, Colour.
Rose Leslie, Harry Treadaway.
Directed by Leigh Janiak.

Honeymoon starts with its two central characters very much in love, after the wedding, each talking into the video camera, the happy memories. They travel to a remote house in the woods for their honeymoon, plenty of amorous experiences, in the woods, on the lake. But when they go to visit the local restaurant, they find the owner behaving strangely and his wife looking odd.

During the romantic experiences, there have been a few signs of something sinister, especially flashing lights in the night. When the husband finds his wife in the woods, against a tree, with wounds of her legs and her beginning to act in very strange ways, forgetting details, yet trying to please and saying she was the same.

This is a variation on the Bodysnatchers story, aliens from space, invading female humans, creating strange creatures inside them, taking them over – and destroying the humans.

Rose Leslie and Harry Treadaway are a very cheerful couple which makes the monster aspects of the story more telling.

1. The title? Audience expectations? A picture of love? Their talk on the video? Amorous Behaviour? The holiday?

2. The film lulling the audience against what was to develop? The gradual revelation of horror, suggestions, the mysterious light, the experience in the woods, the injuries to Bea, building on these clues, the story of body snatchers?

3. The woods, the house, interiors, the lake and its beauty? The musical score?

4. Paul and Bea, the first impressions, attractive, talking on the tape, the romantic mood, kissing, and, sexual experiences? The house? the boat, the anchor? Playful?

5. The signs? Will, mysterious Behaviour, the restaurant, Andy, bizarre Behaviour? Warning them away?

6. Paul finding Bea in the woods, her injuries, their talk, distorted Behaviour, forgetting detail, the reactions? The body snatchers? The blend of the invader and the real person?

7. Paul, the strength of his being upset, practical with a puzzle, testing Bea? The visit to Annie and the realisation of her same experience?

8. The effect, Bea avoiding Paul, in the bathroom, the birth of the creature? The creature on the bed?

9. Bea, the plea, bewilderment, the explanations, Paul and his reaction?

10. Going out on the lake, the anchor, her pushing Paul into the lake?

11. The final image of Bea, waiting, the transformation, monstrous?

TALK TO A STRANGER

US, 1952, 68 minutes, Black-and-white.
George Murphy, Nancy Davis, Billy Grey, Lewis Stone, Kurt Kaznar.
Directed by David Bradley

This is a short, moralising film, supporting feature from 1952, the McCarthy? era.

George Murphy had a successful career as a song and dance man, especially at MGM, but gave up his show business career for Californian politics, becoming a senator. His wife here is played by Nancy Davis who was to marry Ronald Reagan and become the First Lady of the US. The young Billy Grey gives an intense performance as their son, obsessed with a stranger whom he accuses of poisoning his dog.

The stranger is played by Kurt Kaznar and Lewis Stone appears as the newspaper editor of the town. A strong cast, with Murphy doing his sympathetic thing but Nancy Davis having a rather lacklustre role as the pregnant mother, mainly reacting to her son and husband.

With the California setting, the film shows the orange growers, the difficulties with the weather, with the cold, burning fires at night, the need for fuel and the difficulties in transport. This reaches a crisis point when the young boy, Robert, in anger against the stranger empties all the stranger’s oil just when his father and fellow orange growers needed.

The film shows a happy American family, the young boy rather precocious, especially in his vocabulary.

But the focus is on a dog and the boy’s affection for it, suddenly finding it dead. Because the boy had called on the stranger at Halloween and had disliked him, Robert immediately concludes that the stranger has poisoned his dog, goes to visit him, is physically aggressive, is psychologically obsessed, can’t be told anything, reacting badly to his parents, especially his father. His father advises him that he needs evidence and so he discusses the case with the editor and goes to try to find evidence – including an address for a doctor that the editor had rung. There is a strange episode where Robert encounters a young boy, goes into what is called a haunted house, but is, in fact, the house of the doctor – there is a later explanation of how he had operated on his son who had died on the operating table and he had bought the property next to the Orange farm for seclusion.

After the fiasco with the oil, Robert runs away, falls into a stream but is rescued by the stranger, warmed and fed, with Robert mellowing. Afterwards, the editor is able to provide more information concerning a man wanting to poison the coyotes and putting out poisoned meat and Robert’s dog eating it and dying.

One hopes that Robert has learned his lesson.

THE MULE

Australia, 2014, minutes, Colour.
Angus Sampson, Hugo Weaving, Ewen Leslie, Leigh Whannell, John Noble, Geoff Morrell, Noni Hazelhurst.
Directed by Tony Mahoney and Angus Sampson.

Those with long memories might think of Francis, the talking mule, so popular in the 1950s and with television screenings. Those whose memories do not go back so far will probably think of drugs and smuggling and those who carry the drugs, the mules. The latter is the meaning of mule for this film.

It starts with broad humour, Ray, Angus Sampson (who co-wrote and co-directed the film) is in a very awkward and embarrassing situation with customs officials at Melbourne airport. Some of the humour continues as the film goes into flashback.

It is a scene at the local Paradise Club in Melbourne’s western suburbs, in Sunshine (lots of shots of local streets, homes, railway lines). They are about to make the award for their outstanding member of the year. The gawky Ray unexpectedly wins, much to the exuberant delight of his mother, Noni Hazelhurst. At home, he is quiet, fussed over by his mother, his step father telling him how lucky they are in life, even as his wife reminds him he has done his limit on his beers for the meal.

Another aspect of the humour is that the action is set at the time of the winning of the America’s Cup in 1983. The developing battle between the US and Australia is seen throughout the film, people watching the television, at home, at the club, in the motel at the airport, so that paralleling Ray’s experiences, there is the victory over the Americans, the cheeky Aussies toppling the top dogs.
Meantime, all is not so funny at the club and the film and, step by step, the film goes into the serious mode and the world of drugs and smuggling. The local kingpin, played by John Noble (the progressive Bishop in the series, Devils Playground) relies on a huge Lithuanian thug as well as a young Asian to do his violent dirty work. But he also has one of the local dimwits, Gavin, played by Leigh Whannell (who was one of the originators of the Saw series of horror films), try to persuade Ray to take the prize holiday in Thailand and bring back some drugs.

Despite expectations, Ray decides to go, goes to a number of parties in Thailand and, for reasons that puzzle us for the rest of the film, decides to swallow the sachets of heroin. We then go back to his arrival and the treatment by the customs officials and his willingly going with them. But, he refuses an x-ray, has a young female lawyer who believes in him to help him, and will not confess to having the drugs.

Which means then that he is in police custody for seven days, taken to a motel near Melbourne airport, supervised by the police – who then get a judge to extend their holding him another three days, then another day and a half. It also means that we share Ray’s diet experiences, his refusing to excrete the sachets, to the annoyance of the police, and a scene where audiences might be looking away when he makes a decision after an accident as to what he is going to do with the sachets…

This is a suburban version of the drug big time, the kingpin having his limitations, ordering his thugs to exercise his violence, ordering Gavin to find out what is going on, putting the pressure on Ray’s family, especially his stepfather who complicates the plot development when it is revealed that he has a gambling problem and a financial dependence on the kingpin.

We can’t but be on Ray’s side as he stays with his constipation, is visited by his mother with food, is encouraged by his lawyer, is visited by Gavin, has a police guard in the room who nods off, watches television and is particularly inept. But it is two officers who are in charge who provide interesting characters and interactions. Hugo Weaving plays the aggressor, bad cop, Ewen Leslie is the well-dressed, rather quieter, good cop. The two provide some unexpected plot twists making the end of the film more interesting and more dramatic.

With the number of Australian stories about drug mules from Thailand, Malaysia, Indonesia, and their dire experiences in prisons in those countries. This is an Australian version, rather different in tone, but nonetheless, well done and surprisingly interesting.

1. The story? Humour, satire, serious themes, drugs and violence?

2. The Melbourne setting, based on actual events, 1983, the America’s Cup, the television clips throughout the film, and the triumph? The use of the America’s Cup is a parallel to the events of this drug story?

3. The suburb of Sunshine, homes, clubs, train lines, trains, the police precinct, Newport motels? The scenes in Thailand? A realistic setting?

4. The introduction to Ray, at the airport, the strip search, the customs offices? Going to the club, he will night, John and his speech, Pat and the making of the award, the choice of Ray, his mum’s delight? The contrast with Ray at home, awkward, the meals, is not assassin? John saying they were likely to be they were? Her control of his drinks? Ray and is going out, going to the party, sexual encounter, ready to agree to Gavin’s proposal? Naive? Wanting to be liked? Gavin, pact, the drug world of Sunshine, recruiting and the difficulties?

5. Pat, manager of the club, the distribution of drugs, Hearst in the party on the awards, the influence of Gavin? The Lithuanian thug? His Asian mind? Stand of the tactics, violence, Johns death?

6. Ray is going to Thailand, the painting, his being awkward, accepting the Carolyn, swallowing the sachets? The drug?

7. Raising tensions, his return, going through customs, returning, wanting the search, the behaviour of the officials, is not admitting anything, refusing the x-ray, staying in custody? The seven days, the three extra days, the dander half? His legal position?

8. Pat, upset, Kevin, his anxiety? The Lithuanian going to the motel, at the Buffy, the encounter with Croft? Pat and his threats, Gavin and his nervousness?

9. The lawyer, her liking Ray, her work, arguments with Croft, going to the change?

10. John, Ray’s stepfather, at home, with Ray’s mother? The visits, care, the food? Sent? The threats from Pat?

11. Ray in custody, the motel, comfortable, the supervision, his constipation, the continued searches, the young policeman individual?

12. Croft, the tough policeman? The contrast was Paris, and being? And the final revelations of behaviour, Croft as honourable, Paris as violent, the death of Gavin? Ray’s reaction?

13. Ray, the days of pain, the constipation, coping, his accident, his belief, the decision to swallow the sachets again?

14. Paris, his greed, encountered with Gavin, going to the roof, putting him? Gavin landing on the Lithuanian’s car, the crash, death Western

15. The Asian, his role, with the Lithuanian? The confrontation with Pat, killing him question

16. John, with Pat, Johns gambling, trying to bargain, his death?

17. Ray’s achievement, the achievement of the America’s Cup?

18. A serious film, the prevalence of drug mules in Asia and Australia, a cautionary film?

1. The story? Humour, satire, serious themes, drugs and violence?
2. The Melbourne setting, based on actual events, 1983, the America’s Cup, the television clips throughout the film, and the triumph? The use of the America’s Cup is a parallel to the events of this drug story?
3. The suburb of Sunshine, homes, clubs, train lines, trains, the police precinct, Newport motels? The scenes in Thailand? A realistic setting?
4. The introduction to Ray, at the airport, the strip search, the customs offices? Going to the club, he will night, John and his speech, Pat and the making of the award, the choice of Ray, his mum’s delight? The contrast with Ray at home, awkward, the meals, is not assassin? John saying they were likely to be they were? Her control of his drinks? Ray and is going out, going to the party, sexual encounter, ready to agree to Gavin’s proposal? Naive? Wanting to be liked? Gavin, pact, the drug world of Sunshine, recruiting and the difficulties?
5. Pat, manager of the club, the distribution of drugs, Hearst in the party on the awards, the influence of Gavin? The Lithuanian thug? His Asian mind? Stand of the tactics, violence, Johns death?
6. Ray is going to Thailand, the painting, his being awkward, accepting the Carolyn, swallowing the sachets? The drug?
7. Raising tensions, his return, going through customs, returning, wanting the search, the behaviour of the officials, is not admitting anything, refusing the x-ray, staying in custody? The seven days, the three extra days, the dander half? His legal position?
8. Pat, upset, Kevin, his anxiety? The Lithuanian going to the motel, at the Buffy, the encounter with Croft? Pat and his threats, Gavin and his nervousness?
9. The lawyer, her liking Ray, her work, arguments with Croft, going to the change?
10. John, Ray’s stepfather, at home, with Ray’s mother? The visits, care, the food? Sent? The threats from Pat?
11. Ray in custody, the motel, comfortable, the supervision, his constipation, the continued searches, the young policeman individual?
12. Croft, the tough policeman? The contrast was Paris, and being? And the final revelations of behaviour, Croft as honourable, Paris as violent, the death of Gavin? Ray’s reaction?
13. Ray, the days of pain, the constipation, coping, his accident, his belief, the decision to swallow the sachets again?
14. Paris, his greed, encountered with Gavin, going to the roof, putting him? Gavin landing on the Lithuanian’s car, the crash, death Western
15. the Asian, his role, with the Lithuanian? The confrontation with Pat, killing him question
16. John, with Pat, Johns gambling, trying to bargain, his death?
17. Ray’s achievement, the achievement of the America’s Cup?
18. A serious film, the prevalence of drug mules in Asia and Australia, a cautionary film?

TWO DAYS, ONE NIGHT

Belgium, 2014, 100 minutes, Colour.
Marion Cotillard, Fabrizio Rongione, Olivier Grenier.
Directed by Jean- Pierre and Luc Dardenne.

When we see the names of the Dardenne brothers on any film we can be sure that it is a film of quality and it will be a film which makes telling social comment on contemporary issues. This is certainly true of Two Days, One Night.

What we have is a look at contemporary Western Europe, on employment and unemployment, and competition for jobs, difficulties in the workplace, especially for people suffering from mental illness and, especially, depression.

This is indicated by the title: the action takes place over a day, and night, a day. They are Saturday, Saturday night and Sunday. However, the film opens on Friday afternoon, with a vote at a solar panel factory in a Belgian town, where the workers vote to accept a 1000 euro bonus and not to let Sandra, who has been absent from work for some weeks, to get her old job back. Two of the 16 workers voted for her. One of them, Juliette, urges her to go to see the manager so that there can be another vote on the morning when Sandra has had the opportunity to canvass the workers and persuade them to have some compassion for her – which does mean sacrificing their bonus.

Oscar-winner Marion Cottillard plays Sandra. In their earlier films, the Dardenne Brothers used little-known actors, except for their regular Olivier Gourmet, who makes an appearance in this film at the end, playing Jean- Marc who has opposed Sandra, undermining the attitudes of the other workers. In their previous film, The Kid with a Bike, they chose a well-known star, Cecile de France. The use of a star does mean that the Dardennes’ films get wider release. And deservedly so.

Sandra is married to a chef, Manu (Fabrizio Rongione), and they have two children. Sandra has not quite recovered from the illness, sometimes does not want to get out of bed and face the day. She loves her husband who, she fears, may be moving from love to pity because of her condition. However, it is Manu who encourages Sandra over the weekend to make the visits, often driving her from one to the other.

On the Friday, Juliette gives Sandra a number of addresses and connects her with one of the workers who is favourable and who confirms his vote for her. Encouraged by this, Sandra and Manu, set out on the Saturday morning.

It may have been at this moment that a certain amount of dread arose, that we would spend the next 90 minutes going from house to house – and wondering how interesting that would be. The film is worth the perseverance. Sandra does go from house to house but we meet a number of ordinary but interesting characters, some sympathetic, some desperate, some grateful to Sandra for help in the past, some whose financial situations rely on the promise of the bonus.

These are ordinary people in the street, dependent on their jobs, most of whom have some feelings for Sandra, but a number of them, even wishing her well, cannot vote for her.

By the Sunday afternoon, Sandra feels desperate and empties a bottle of Xanax, Manu finding her and rushing her to hospital. She is not in there long and perseveres in some final visits.

There are some dramatic tensions as the workers go in for the vote on Monday morning, some solutions suggested, with the Dardenne Brothers drawing on their compassion for human nature and promising some hope.

1. Film of social concern? The career of the Dardenne brothers and their interest in social issues? French-speaking Belgium? The background of Western Europe, employment, financial issues? The economy? Labour and the effect on ordinary people, unemployment?

2. The town of Seraing, the homes, the streets, diners, the factory? The musical score? The songs?

3. The title, which days, which night?

4. Marion Cotillard’s performance as Sandra? Her screen presence, skills, embodying Sandra, communicating her inner life?

5. Sandra’s situation, work at the factory, clinical depression, breakdown, hospitalisation? Her recovery, yet her dependence on pills and taking many of them? The situation, her love for Manu, the tensions during a depression? Her love for her children, the scenes with them, meals, outings, picking them up, phone calls?

6. The situation about her return to work, the vote against her, Juliette and her friendship, the phone calls, concern? Sandra not wanting to go to M. Dumont, the urging of Manu and Juliette? Manu and his influence, rightly or wrongly? Her attitude towards him, accusing him of pity rather than love?

7. Going to M. Dumont, the story of Jean- Marc and his talk against her, the vote on the Friday? The discussion with M. Dumont, his having left the office, his agreement to a new vote?

8. Juliette and her help, the phone call to Kader, his agreement, supplying the addresses, the plan? Sandra’s strength going on the visits, talking, compassion, understanding those who voted against her, Manu driving, the lunch with the children, her wanting to go? The way she was treated? Upset, gratitude? The decision to take all the Xanax, going to the hospital? Released and going with Manu for further visits?

9. The insight into human nature with the various visits: the husband and his wife on the dole, having to get old tiles? Melanie and considerations about money, the new man in her life? Nadine not talking to Sandra, but phoning others? Anne, the money for the patio, her brutal husband and his treatment? The emotional effect of these encounters on Sandra? Yvon and his violent son, leading to the fight? Meeting Julian in the street, the hard times, his sympathy for her but wanting the bonus? Timur, training the children at sport, the favours that Sandra had done him and his gratitude, his phone call to others? Alphonse, in the laundry, the issue of the contract and his depending on it, his being blamed? The man who was kind but sad having to refuse…?

10. Work situations, financial issues, paying oil and gas, bonuses, being on the dole, training sport, domestic violence…? Repairs, work contracts?

11. The issues of pity and compassion? Alphonse and his bringing in God, goodwill and doing good for others?

12. The impact of all the visits, on Sandra, on Manu? Anne and her leaving her husband, staying in the house with Sandra and Manu?

13. The Monday, Manu dropping Sandra at work, Jean- Marc and his intervention, his being asked to leave the meeting, Sandra leaving? The vote, 8-8? Sandra losing her job? Meeting the supporters in the cafeteria, thanking them? Going to M. Dumon’s office, his offer of the job, but at Alphonse’s expense?
Sandra refusing?

14. Sandra in the street, asserting herself, the phone call to Manu, the new happiness, a new self-confidence, the new search?

THE BAD MAN OF BRIMSTONE

US, 1937, 89 minutes, Black and white.
Wallace Beery, Virginia Bruce, Dennis O' Keefe, Joseph Calleia, Lewis Stone, Guy Kibbee, Bruce Cabot.
Directed by J.Walter Ruben.

The Bad Man of Brimstone is a cheerful western, even though Wallace Beery is an outlaw and there is an amount of violence. The setting is after the Civil War and the coming of law and order in the West. Beery and his sidekick, Joseph Calleia, hold-up a stagecoach and confront a young man and his manager, the irony being that the young man is Beery’s son, not revealed to him until the end of the film.

Beery is Trigger Bill, a gambler, outlaw, managing the town. When there is a fight and the young man kills someone, the brother, played by Bruce Cabot, arrives in town wanting vengeance. In the meantime, the young man falls in love with the daughter of an old judge, Lewis Stone, but his father arranges for money for him to do lawyers course to be paid to the judge. The young man returns to the town only to be confronted by the vengeful now-Sherriff. There is a shootout, a revelation, and a happy marriage at the end. The judge’s daughter is played by the Virginia Bruce, the wife of the director, J.Walter Ruben. Dennis O’ Keefe plays the young man.

1. An entertaining Western, after the Civil War, law and order in the West?

2. The studio work, the artificial look of the film, the roads and mountains, the trail? Musical score?

3. The title, with reference to Trigger Bill?

4. The opening, the hold-up, Bill and his sidekick, the money, Bill as a gambler, his influence in the town? Meeting the young man, seeing the watch and the picture of his wife, not revealing anything? Giving the money to the judge for his son to be educated? The coming of Black Jack, his concealing the truth about the death of his brother? The return of Geoffrey, as a lawyer, law and order, the confrontation with Black Jack, the trial, the arguments? The build-up to the shootout? Geoffrey and his manager, jovial, in the town, shot by Black Jack?

5. Geoffrey, meeting Loretta, carrying the can, attracted, the mutual attraction, her father the judge, his drinking problems, retirement? Bill approaching him about the money, the ethics, the secrecy? This backfiring during the trial, Geoffrey and his arresting the judge, the bank book and the entries for Geoffrey’s education? The shootout and the death of the judge? Geoffrey, Loretta, who welcome him back, the wedding, and Bill looking in the window?

6. Black Jack, tough, vengeful, shooting, the court case, the final confrontation? His brother and information about the killer?

7. The men in the town, authorities, justice, the court case and the lawyer, the shootout and the deaths?

8. The mines, Bill and his investment, the money, his future?

9. Popular ingredients for a 1930s Western?

SPIRAL

US, 2007, 90 minutes, Colour.
Joel David Moore, Zachary Levi, Amber Tamblyn.
Directed by Joel David Moore and Adam Green.

Spiral is a brief psychological drama, focusing on a young man who works in a telemarketing company. Just by the look of him, it is obvious that he has emotional problems and psychological problems. You also sketches and paints. Is played by the co-writer and co-director, Joel David Moore.

We see him at home, trying to cope, an ominous door ajar at the end of the corridor, like pouring out. We see his sketches, we see him painting. Is continually supported by his friend from school days, Berkeley (Zachary Levi) who works with him, as is his phone calls of anxiety in the middle of the night, reassures him at work, feel some obligation taunts him from the days at school. he himself is in a relationship which comes to a head when he invites Mason to a Christmas dinner and his girlfriend objects.

While Mason generally achieves his phone call targets at work, he goes out as a sandwich by himself in a seat At the Encounters of the Amber (Amber Tamblyn). She is chatting, they become friendly, he scored is heard to work and back, they come out, and he decides to painters. they have several episodes when he paints and hangs her paintings. She is curious, discovers his other sketchbooks, becomes afraid, wondering what has happened in the last portrait, because all the pictures of the women of the same postures, which is torn out.

Mason has dreams that he has killed people, is reassured by Berkely that the red on his hands is only paint. Berkely has never seen Amber, and she does not arrive for the Christmas meal. When Mason, who sometimes wakes from nightmares with red on his hands, appears at work once in Cannes, Berkely simply advise him to wash his hands. Thinks that all the women, including Amber, with fantasies. Then, a colleague mentions Mason going out with amber, in Berkely goes into the street appalled at what might have happened…

1. A psychological thriller? Drama? Character study?

2. The city, workplaces, apartments, streets and restaurants, and authentic feel? Musical score and atmosphere?

3. The title, as applied to Mason’s behaviour?

4. The portrait of Mason, his age, appearance, looks of anxiety, waking in the night from dreams, murderous content? At work, trying to cope with his phone calls, the others at work and not helping? His relationship with Berkeley, memories of the past, Berkeley’s continued support and reassurance? Mason and his meeting Amber, sitting on the seat, the sandwich, gradually talking, and burdening himself, his explanations about paintings, the explanations about jazz? The bond between the two? Going out? Going home, the rain, the night together? His wanting to paint Amber, the various settings, opposing, almost completed paintings? His reaction to her finding the pay of a sketchbook, the torn out page? Bringing home, the confrontation, blood or paint on his hands? At work, Berkeley’s reassurance, that Amber did not exist? Because she did not come to the dinner, and not knowing of Mason’s search for her and her return to the apartment? The revelation that there were other women and that he may well have murdered them?

5. Amber, pleasant, on the seat, discussions, warming to Mason, his sketches, the jazz, out with him, the night, looking for socks, finding the sketchbook, the torn out page, a parcel? Not come into the Christmas meal? Returning to the flat apartment? The confrontation, her death?

6. Berkeley, friend from the past, his continued support of Mason, feeling that he should? Not believing him about the women? The Christmas dinner, his partner, his anger towards her, her leading? The final reassurance of Mason? The colleague speaking about Amber as real? His realisation…?

7. The ordinary settings, the work of the office, the workers, walking the street, the jazz? The contrast with the enclosed world of Mason’s room, his paintings, the door at the end of the corridor, a jar, the light coming out? The suggestion of murders?