SIGNIS STATEMENT




DELIVER US FROM EVIL.

July 21, 2014.


It is over forty years since The Exorcist made such an impact on worldwide audiences as well as on critics. Almost immediately there were many imitations, some of them spoofs from Italy, then a number of serious sequels and variations on the theme. While there have been some lulls in release of films of diabolical possession and exorcisms, there has been an increase since 2005, and there is no sign that it is abating.

A significant question is: why do audiences worldwide continue to have a fascination in the phenomenon of diabolical possession and the rituals of exorcism?

It can be noted that one of the best of these films in recent years, based on fact in the United States as well as in the course offered in Rome for those interested in exorcism, was The Rite (2011), with Anthony Hopkins as a Jesuit priest.

Perhaps it is the “Francis-effect” with the impact of Pope Francis and his Jesuit background, but here is another film with a priest confidently announcing that he is a Jesuit. As the film progresses, Jesuits may wonder whether he is the kind of role model that they would like.

This statement is not advocating Deliver Us from Evil as a great film about exorcism or even a good one. It is rather something of a potboiler with some interesting moments about Catholic themes and the problem of evil.

As regards the plot, the screenplay draws on elements of the original The Exorcist and its sequels, with mysterious goings on in the Middle East, especially with Demons. The screenplay is up-to-date insofar as there are three American soldiers in Iraq in 2010, going down into a vault, with video camera, smelling strange odours, finding a message on the wall, photographing the material. But, three years later, each of the soldiers is in violent crisis back in New York City, one brutalising his wife, another found dead while doing a painting job, the third, present in a sinister manner at the Bronx Zoo, actually possessed.

The possessed man is confronted by a New York police officer, Ralph Sarchie, who wrote a book about the experience and vouches for its truth (sounds more like PR than actuality). In the confrontation with the possessed man, he encounters a Jesuit priest, Father Mendoza, who has had a difficult drug past, experienced some conversion which included belief in God and becoming a Jesuit, with some lapses (which could cause some difficulties in the contemporary context of sexual misconduct), but has become an expert in psychiatry and working with people in violent mental difficulties and possession.

This is a New York police story, there is plenty of action, quite an amount of violence and deaths.

For Christian audience, especially Catholics, it is the Jesuit character who is of interest, although the police officer has been a lapsed Catholic from the age or 12, denying a God who did not intervene in an attack on his family. Father Mendoza makes a distinction between Primary Evil and Secondary Evil, the latter being the destructive experiences in most people’s lives. His focus on Primary Evil is on the unexplained presence of pervasive evil, the dichotomy, we might say, between God and the Devil, Primary Evil being a continual menace in the world.

When the detective wants to upbraid God because of not intervening in disaster, Father Mendoza says that they could talk all day on the problem of evil but they should focus on the problem of good, why so much good in the world – and he makes the point that God relies on us humans to intervene and help with God’s work for good. And the pertinent example is that of the detective and others in their police work confronting criminals and bringing them to justice. Father Mendoza uses the language of Ignatian “discernment” but it is a fairly basic and unnuanced description that he gives. However, he does persuade the detective to make a confession, sacramental, where a detective confronts his memories of dealing with a child abuser, beating him to death in his anger. The priest points out that vengeance was done on the abuser but not justice, and that vengeance normally stays with the avenger, contaminating the avenger’s life.

This does provide an interesting religious core to the film.

One reviewer expressed surprise that ain exorcism should take place in a police interrogation room. But, why not? Whether the scene is an authentic interpretation of the official ritual is not always clear, Father Mendoza explaining the six steps in the process of exorcism and proceeding then to pray, to demand the demon’s name, to oust the demon (with just a few special effects to remind us of The Exorcist). The production team could have well done with a Catholic adviser because Father Mendoza uses “Holy Ghost” instead of Holy Spirit and the colour of his stole for the exorcism is blue!

Edgar Ramirez, long hair, somewhat unkempt, a jogger, a heavy smoker (which he sees as a better addiction than many others), is meant to be an image of the contemporary priest. Eric Bana is the detective and Sean Harris the former soldier who is possessed. It is interesting to note that the film was directed by Scott Derrickson, an American director with a Presbyterian background, who made the far more effective The Exorcism of Emily Rose (2005) and a very effective haunted house film, Sinister (2011).

An example of the current trend of possession and exorcism films, a police-action thriller with some acknowledgement of theological and religious themes.

MRS BROWNS BOYS, D’MOVIE

Ireland, 2014, 100 minutes, Colour.
Brendan O’ Carroll, Jennifer Gibney, Eilish O’ Carroll and many of the O’ Carroll family!
Directed by Ben Kellett.

If you are not already a fan of the very popular television series, Mrs Brown’s Boys, you may have a bit of difficulty in following this cinema version, just who’s who in the Brown family? We are placed in the middle of things, and because of this, there might be not too many converts either.

On the other hand, this reviewer attended the Thursday, 1.00 pm session and there were only two other people in the cinema, an elderly couple, older than the reviewer, who, in fact, chuckled all the way through. converts! (And before the film started, Mrs Brown’s face suddenly appeared on screen – which seemed like a trailer for the film we were actually in there to see – but it was actually herself telling us how much she enjoyed performing the stage version in Australia and that she and the family are coming back: Book Now!)

Mrs Brown is the creation of Brendan O’ Carroll, first writing a screenplay about this Irish widow in the late 1990s, made into a film directed by and starring Angelica Huston, simply called Agnes Browne. O‘ Carroll himself had a number of cameo roles. But then came the television series, Brendan O’ Carroll himself taking the role of Mrs Brown (a bit disconcerting to see photos of the real O’ Carroll with his bald head and seeing him as a martial arts trainer with a fright wig in this film), looking like a latter-day Mrs Doubtfire, dealing with his Grandaddy, the pushy neighbour and the array of children.

It is fair enough to say that the humour is “fairly broad” and that the vocabulary is exceedingly 'fective' (with many expletives including the other four letter F alternative). Much of the humour is slapstick with a lot of pratfalls, especially in the Moore Street market. And there is a lot of spoof of Irish ways and manners, the Browns in their suburb of Dublin but also, for instance, farcical court cases and images of the Catholic Church, (not particularly irreverent). Father Damian is the parish priest, first seen nailing Jesus to a cross outside the church because a holt had come out and the statue of Jesus was hanging by one hand; then in the confessional where Mrs Brown wants to get something of relief from the pressures of life by confessing but her neighbour insists that she has many more sins than Mrs Brown and squashes into the confessional to prove her point, Father Damian fleeing to get some air. There is another priest who performs a funeral and then there is Mrs Brown’s son, appearing rather impassively, wearing a Roman, not really actively involved in anything.

The slim plot is, as often, about greedy developers trying to get rid of poor people, this time ruthless Russians, relying on a corrupt lawyer, to take over the stalls at the market, destroy them and put up some high-rise buildings. Needless to say, they don’t win. Part of the complication is that, because of difficulties generations ago, Mrs Brown has been landed with a tax bill for some millions of dollars. However, an old lady reveals that she has a document proving that the bill was paid. Again, needless to say, the Russians are after the document, Mrs Brown is after the document (leaving a rather well-mannered lawyer, who was afflicted with Tourette’s syndrome, to do a filibuster in the court room until she gets back with the document).

So, it depends on whether you want to see and believe that Brendan O’ Carroll is Mrs Brown (who is not averse to suggesting to the audience, whom she regularly addresses to camera, that she is really a man). The film often makes play of the fact that it is a film, tearing down a backdrop to reveal a real building, Mrs Brown gazing to the sky as the camera zooms up there, telling us how much she likes movies because after falling into the river, she immediately appears dry! Yes, there are some outtakes during the final credits, but a whole lot of them are actually left in the action, actors falling laughing at having to repeat their lines.

The film is very Irish, playing on the old traditions, but it is also a reminder that Ireland has become very multicultural, especially with the character of the Indian stallholder whom they all refer to as being Jamaican - and that that is the richness of Ireland. At the end, Kate Brown, who will inherit the store from her mother, makes a strong, patriotic and sentimental speech in favour of Dublin.

And if this review sounds promising, by all means join the many fans of Mrs Brown and her Boys.

1. The popularity of the television series? Stage performances? Cult status? The appeal, the target audience? Characters, rough and ready, Ireland? The family, the situations? Humour and language?

2. Adapting the series for the cinema, moving the action outside the house? Dublin and the overview of the city, homes, Moore Street, the market, offices and development planning, the courts, the feel of the city? The musical score in the Irish lilt?

3. Mrs Brown, talking to the audience, the devices where she looks to the sky as the camera rises, the breaking of the lens, including the outtakes in the film, emerging from the river dry and her remark about liking the movies? The musical score including classics like the Pink Panther, The Great Escape, The Good, the Bad and the Ugly…?

4. Brendan O’ Carroll and his contribution, the introduction to the film, his writing the screenplay? The opening dream, grandad coming in with a baseball bat, waking, getting ready to go out, going to the market, being joined by the women with their prams, the en masse song and dance routine, the crowds watching, the jubilation? The reprise of this mood at the end, with everyone involved?

5. The characters, Mrs Brown, Brendan O’ Carroll and the cross dressing, and his references to his own masculinity? His performing the role of the martial arts teacher? The neighbours, especially the fussy woman, Kate Brown and her work, the tradition of the market? The Indian whom everyone refers to as Jamaican? Mac and Buster? The other children, the passive priest and his just been present, the range of children? The encounters with Fr Damien, the burial priest, the lawyer for the court, the justices, the gay friends, the contrast with the Russians, their development schemes, having Irwin in their pay?

6. The market, the jokes, the range of customers and fruit and vegetables for sale, visiting Kate, the contrast with her work in the office? The court case, the stealing of a horse, the Justice, the various angles, the lawyers, Buster in the box, his naivete? His later riding the horse into the Justices’ dining room and the Justice telling him where to go? The issue of the huge amount of taxation, Mrs Brown going to the bank, the discussions with the teller, with the lawyer? The lawyer with Tourette’s syndrome, very well mannered but breaking out? The old lady, the crash?

7. The visit to the register office, the girl on the phone, the clashes? Mac and Buster coming, trying to distract but only making even more mess?

8. Irwin, the discussions with the Russians, the attacks on the market? Pursuing the Brown family?

9. The court case, the need to find the document, the background of the old lady who was at the registry office, identifying the day, her being hit by a car? Mrs Brown telling the Tourette’s lawyer to filibuster, his giving the whole history of documents?

10. The meetings for how to raise money for the case? The gay man and is offer to swim the channel, his mis-hearing what was said? Going to the beach, his skimpy costume, going into the water and running away? His later being interviewed in the court? Camp?

11. The role of priests, Fr Damien and his nailing Jesus on to the cross, his going into the confessional, Mrs Brown getting a lift from confession, her friend wanting to prove that she had more sins and Mrs Brown, the crush in the confessional? Fr Damien and his getting out? The picture of the Irish parish priest, not critical, and the priest who conducted the funeral service? And Mrs Brown’s son – and his seeming impassivity?

12. The Russians, their continually intervening, the violence, Mrs Brown and the comeuppance?

13. The desperate quest to get the document, Buster messing it up, Mrs Brown and her desperation? Buster and the horse? Riding into the court? The comeuppance for the Russians? And Irwin trying to escape from the court?

14. The happy ending, Kate’s impassioned speech for Dublin? The Irish traditions, the growing multiculturalism?

15. The down-to-earth kind of humour, Irish style, Irish odd situations?

REACHING FOR THE MOON/FLORAS RARAS

Brazil, 2013, 118 minutes, Colour.
Miranda Otto, Gloria Pires, Tracy Middendorf.
Directed by Bruno Barretto.


Reaching for the Moon is a generic kind of title, which could be applied to any story. There is a meaning for its use for this film, explained at the end of where a central park in Rio under construction is to have lighting fixtures which are like bringing the moon and its light to the park.

It is 1961 and the first half of the 1960s.

This is a story of two strong women, the American poet, Elizabeth Bishop, and the Brazilian architect, Lota de Macedo Soares. Both were middle-aged, their lives intersecting, an unlikely duo, an unlikely friendship, which developed into a relationship of love.

While the central focus of the film is Elizabeth Bishop, a fine performance from Miranda Otto, there is a fiercely dynamic performance by Gloria Pires as Lota. Elizabeth Bishop was rather shy and somewhat retiring, while Lota was full of energy which ultimately led to her emotional and mental collapse.

We are introduced to Elizabeth Bishop sitting in Central Park, New York, with the poet Robert Lowell. He comments on her poetry, her particular style which could be interpreted as prose with pauses. His particular comment is quite telling. He suggests to Elizabeth that she has “observations broken into lines”. Somewhat diffident, she decides to go on a holiday and sails for Brazil. Connections have been made and Lota, along with her American partner, Mary (Tracy Middendorf) are there to meet her, Mary being a school friend of Elizabeth’s.

Audiences made to share Elizabeth’s edginess and appreciate her desire to return to the United States. However, the audiences also is made to feel the strong force of Lota’s personality, her interest in Elizabeth, the personal attraction, the sexual attraction which leads them both into a partnership.

The other attraction for Elizabeth is the beauty of Brazil and its mountains, forests and gardens, and the attraction of the city of Rio. This beautiful scenery is also a great attraction for the audience.

Elizabeth also realises that Lota has a political background, especially with her radical father with whom she does not communicate. a politician, The genial politician, Carlos, is a close friend, as well as an admirer of Elizabeth’s poetry. When he decides to nominate for Governor of Rio, Lota decides to actively participate in the campaign and, to collaborate, when there is a coup and a change of government. This is very difficult for the American, Elizabeth, to appreciate, especially the role of dictatorship as a form of government which Lota supports.

On the one hand, Elizabeth is left to herself, living in the beautiful house that Lota has designed and her own personal study. It is here that she has a creative period with the consequent book being awarded the Pulitzer Prize. On the other hand, she is lonely, still conscious of usurping Mary’s place in Lota’s affections and a somewhat unwilling party to Lota’s plan to placate Mary who wanted children, to adopt a local girl with Lota seen as grandmother and Elizabeth seen as an aunt.

The other factor is alcohol, Elizabeth very cautious about drinking on her arrival, but her drinking more and more, reinforces her loneliness and her emotional dependence on Lota.

The end of the film explains that Elizabeth Bishop is considered one of America’s greatest poets while Lota bequeathed a heritage, especially in her creative park in Rio. But, just before the end, the audience is involved in the emotional turmoil of the two women and its tragedy.

Bruno Barretto is one of real Brazil’s best-nine directors for such films as: Dona Flor and Her Two Husbands, A Show of Force, Carried Away. This is a very empathetic film, for the two women and, always, for Brazil.

1. Based on a true story? Characters, situations? Literature? Politics?

2. The title, its use, especially for Lota and her park and the lights? Elizabeth and her dreams?

3. New York City, Central Park, Apartments, lecture halls? The contrast with Brazil, Rio, the beauty of the countryside, mountains, gardens, homes? The world of politics? The building of the park? The musical score?

4. Elizabeth and Miranda Otto’s interpretation? American? Gloria Pires and Lota, fiery Brazilian? Her strong presence? The relationship, initially antagonistic, the attraction, personal, sexual? The presentation of a lesbian relationship?

5. Elizabeth, her status, family, her friendship with Robert Lowell, the poetry and publication, her personal shyness? The meetings with Robert Lowell, his comment about “observations broken into lines”? The decision to go away, on the ship, crossing the equator? Arrival? Mary and Lota to meet her? The drive, her wariness, going to the house, her room? Being persuaded to stay? Feeling awkward, the meal, not drinking, not able to toast with water? Carlos quoting her poems? The political atmosphere, her wanting to return to the US?

6. Being persuaded to stay, the years passing, the effect on her, in herself, her general pessimistic attitude, the poetry? Mary and her friendship, the past? Lota and her fierceness? the attraction, the reason for staying, her embarrassment, her concern about Mary’s opinion? The plan to adopt the child? Setting up a household? Lota as an architect, the design of the house, Elizabeth’s study, spaciousness, the desk, her writing there?

7. Mary, the plan for the child, Mary’s resentment towards Elizabeth? Lota in charge, the impoverished family, the reasons for the adoption, the children staying at home? Clara taken into the house, her growing up, Lota as grandmother, Elizabeth as aunt? Mary and her feelings? The years passing?

8. Lota and Carlos, Lota’s father and his political stances, the newspaper, but her not communicating with him? The later reconciliation? Democracy in Brazil? The tradition of dictators? Different expectations of government? Elizabeth and her reaction, particularly American, her speech to the table and their reaction? Lota and her wanting to help, Carlos wanting to be Governor, the campaign, the election, his success? Federal government? Elizabeth and her reluctance? Lota, the park and her dream? The media reaction? The children playing? The vision of the moon, the lights in the park like the moon? The park and its success?

9. Elizabeth, beginning to drink, becoming alcoholic? The attitude of the maid in the house? Elizabeth’s birthday, the cake, Lota absent, Clara coming and wishing her happy birthday? Lota arriving, wanting to make up? Mary’s accusations? Clara talking about the drinking? Elizabeth admitting it, her loneliness? Yet the creative burst with the problems, the scenes of composition, correction, the visuals?

10. Elizabeth winning the Pulitzer Prize, the prestige, the ceremony in Brazil, the dignitaries, the American Ambassador? Elizabeth’s speech, reaction? Later American socials?

11. Elizabeth wanting to leave, making the decision, lecturing in New York? Seeing Robert Lowell again, their discussions? The lectures, her diffidence, Margaret and her approach, beginning the affair?

12. Lota, her breakdown, intensity, in the institution, writing the letters to Elizabeth, Mary not posting them? Mary and her vindictiveness? Lota going to New York, meeting Elizabeth, going to the apartment, the book, the bed, finding the inscription, realising that the affair was going on, her decision to kill herself?

13. The portrait of two strong women, audiences being invited to understand and appreciate? The literary heritage of Elizabeth Bishop? The political and architectural heritage of Lota?

FORTY GUNS

US, 1957, 79 minutes, Black and white.
Barbara Stanwyck, Barry Sullivan, Dean Jagger, John Ericson, Gene Barry.
Directed by Samuel Fuller.

Forty Guns was written, produced and directed by Samuel Fuller. Fuller had emerged in the late 40s with some tough films which continued into the 50s, with films like Pick up on South Street. He was to continue making films, always noted as tough, but his main film was the 1980 The Big Red One, a saga of World War I and World War II.

Barbara Stanwyck, aged 50 while making the film, gives another of her very strong performances, a woman usually in control. She had appeared with co-star, Barry Sullivan, two years earlier in The Maverick Queen. John Ericson had been a character star at MGM and he portrays a violent and self-centred brother of Barbara Stanwyck. Dean Jagger has an interesting role as a weak sheriff with an infatuation for Stanwyck.

Forty Guns was made in Cinemascope with black and white photography, often striking, especially with the riding of Stanwyck and the Dragoon of 40 men at the beginning of the film. He also uses some cinematic effects, like showing the blurred vision of the Marshall of the town as well as the close-up of the young woman of the town as Gene Barry looks through the barrel of a gun.

1. Considered a cult western? The work of Samuel Fuller? During the 1950s, tough and strong films, westerns? His perspective on America? His visual talent?

2. Black-and-white photography, the town, the ranch, the interiors, the countryside, the feel of the West? The musical score, the songs: The Woman with Whip, In God’s Hands?

3. The title, the 40 gunfighters, working the Jessica Drummond, the introduction, riding two by two through the countryside, the disturbance of Griff and his horses? At the table for the dinner?

4. Griff, his mission, bounty hunter, arrests, not killing anyone for 10 years? Travelling with his brothers, Wes and Chigo? Second and third guns? His control, arrival, the encounter with the Marshall, his bad eyes, his being shot? Griff and his distinctive walk through the town, confronting Brocky, Wes and his shot?

5. The town, the Marshall, the Sheriff and his being weak, controlled by Jessica Drummond, Brocky and his friends shooting up the town? People afraid? The Sheriff, the relationship with the government, taxes and deals? His presence at the dinner? Helping Brocky? His declaration of love for Jessica, the confrontation, hanging himself?

6. Jessica as a Barbara Stanwyck character? The father, inheriting the ranch, the deals, the government, taxes, cattle, her being in command? Her 40 guns, Dragoon? Shielding Brocky? The attraction to Griff, the dinner, the flirtatious talk? Brocky and his being in jail, her being taken by him as hostage? In the street? His death? The corrupt deputy among her 40, allowing him to be taken, his being shot? The attraction to Griff, the connection, her fall from her horse and being dragged, in the barn during the storm?

7. Wes, quiet, with Griff and Chigo, shooting on behalf of Griff? Attracted to the girl, her fixing guns? The wedding? Griff and’s kiss, Wes being shot, his death, the funeral, his wife’s grief? The visit from Jessica?

8. Griff putting Chigo on the stage, his getting off, not wanting to farm, his return, shooting Brocky?

9. Griff and his decision to leave, Jessica running after the wagon?

10. A distinctive and different western?

WORDS AND PICTURES

US, 2014, 111 minutes, Colour.
Clive Owen, Juliet Binoche, Amy Brenneman, Bruce Davison.
Directed by Fred Schepisi.

It does depend on one’s sensibility, some have a love for words, a relish for the words and their meanings, and wordplay; others have a passion for pictures, colours and design, the immediate impact of a picture which is worth a thousand words.

This is one of the premises for this romantic comedy – with some edge.

At first we see Clive Owen as Jack Marcus, a talented literature teacher, urging his students to be creative in their imaginations and write up images that have not been heard before. He has an eager honours class because this is a distinguished Preparatory School. We see Dina Delsanto, an art teacher from a school which is closing down and who is hired to teach the same eager honours class. The initial encounter has a sardonic edge to it, Jack trying to make an impressiion and inviting her to participate in his game of going through the alphabet successively and naming words with five syllables. Dina is not particularly impressed.

So, it is clear, that Jack is a man of words and Dina is a woman of pictures. In their arguments, we see a touch of the battle of the sexes, then the competitiveness leads to a war between words and pictures, the aim of the war is to have a confrontation in the presence of all the staff and students, Jack to provide 1000 words and Dina to provide a picture.

In the meantime, we see that Jack is an alcoholic, his job is under threat, he is to undergo a review, with interviews by many of the staff. And, in the meantime, the audience has seen that Dina walks with a crutch because of her rheumatoid arthritis. Jack’s drinking takes the better of him as he makes a show himself in a local elite restaurant. Dina holds him in something of contempt.

As regards drama, there is the focus on Jack, his editing of the school magazine, the promise of a poem, where he uses a deception to promote himself, his sense of embarrassment in the presence of his son and, because of Dina, leading him to AA meetings. Dina is cared for by her sister and has an operation for knee reconstruction. And, audiences anticipating some kind of rapport between the two will not be disappointed -although this leads to further antagonisms.

Quite a deal of attention is given to paintings and discussion about paintings, especially the need for a painting not just to appeal to the brain but also to the heart and emotions. Quite a deal of attention is given to the value of words, the syllables game, the derivations and meanings of words.

The film was directed by Fred Schepisi who made his mark in Australian filmmaking in the 1970s with The Devil’s Playground and, his masterpiece, The Chant of Jimmy Blacksmith. Schepisi has directed quite a number of international film including The Russia House and Roxanne. His previous film to this was from the novel by Patrick White.

The film is interesting because of the two characters and the place of this film in their careers. They clash – but not forever. So, this film is in the tradition of romantic comedies but with welcome emphasis on the value of words and on the power of pictures.

1. The film inviting the audience to compare and contrast words and pictures? Sequences in favour of each? The final eliminating of opposition for complementarity?

2. The Preparatory School, its style, the classrooms, the assembly area? Homes and studios? The musical score?

3. Words: the range of quotations, especially at the end? The game of words with specific syllable numbers? Explaining the derivations of words?

4. Pictures: colour, black-and-white, shapes, designs, impressions, portraits?

5. The school, it situation, the other school closing down, the three new teachers? Their arrival, introduction, in the lounge, Dina and the encounter with Jack? Verbal sparring? The tone?

6. Jack, in class, the quotations from John Updike, the images, getting the students to write an assignment of one new creative image? His goading them?

7. Dina, her class, the comment on the painting of the red house, appealing to the brain? The contrast with Emily’s portrait? The appeal to the heart and devotions? Her perfectionism for the students?

8. The group, the boys, the girls, together, the boy teasing Emily, her being upset, the cartoon, her weeping, the meeting, Jack and Dina and their perceptions on the cartoon, the boy and his denials, showing off his own book and Jack taking it, the cartoon of Dina?

9. The battle of the sexes, mutual attraction? His alcoholism? Her rheumatoid arthritis? each with the flaw, disability? The clashes, the wit, the repartee, the initiating of the competition, the plans? His thousand words? Her picture? The magazine?

10. Jack, the threat to his job, Elspeth, the supervisor and his past relationship with her? The headmaster and his stern approach? The discussions of the magazine, economics, prestige? His promising the poem? Dina’s art? Jack at the club, drinking, the disturbance, the manager warning him off, the shaking hands, his later coming again, falling off the chair, being ousted? His son waiting for him? His son, background, partner, studies? His poem and his father admiring it, submitting it as his own?

11. The supervisor, her anxiety about the revelations of the past relationship, the build-up to the meeting, the range of interviews with each of the teachers, hostile, supportive, Dina and her personal contribution? The promise about the poem? The decision that he could stay?

12. Going to see Dina, talking, the invitation to the kiss, the sexual encounter, the jokes? His drinking, falling against the painting, the effect on her, ousting him? his many apologies, the phone calls, the emails?

13. His going to the AA meeting, telling the truth, the days without drinking? His coaching his students? Dina and her meeting with the students, discussions of painting?

14. Jack and the various notes on Dina’s window, urging her to come to the competition?

15. The meeting, the two MC’s, Emily and Cole? The audience, the students? Dina and her speech, the range of paintings? Jack, his range of quotations, the importance of words? The response of the audience, the headmaster, the supervisor, the staff, Dina sister and her continuing help four Dina?

16. The praise of all the arts, the complementarity, the effect on culture, on humanity?

17. And the final kiss?

MRS MANDELA

South Africa/ UK, 2010, 90 minutes, Colour.
Sophie Okenado, David Harewood, David Morrisey.
Directed by Michael Samuels.

While there have been several films on Nelson Mandela, most especially the film based on his autobiography, The Long Walk to Freedom, where Winnie Mandela was one of the characters, there have not been so many films about Mrs Mandela herself.

This portrait was made for television, a 90 minute glimpse at the life and career of Winnie Mandela. It begins with her husband’s being released in 1990 and her feelings of awkwardness and thinking how to deal with this situation. Then it goes back into flashbacks, indicating the background of her growing up in the South African countryside, her encounter with Nelson Mandela and marrying him, her initial shyness but her developments in social work. With his imprisonment, she had to become a person in her own right, visiting him, bringing up the children, but being arrested, imprisoned for some time and tortured.

This had a considerable effect on her and moved her into a much more militant mode, gathering young men around her, believing in a more violent approach to freedom.

This film was not the last word or image of Winnie Mandela but it is interesting in itself to indicate the transitions in her life and offers a good acting experience for Sophie Okenado..

1. A film for the television audience? The other films on Winnie Mandela? Her presence in the films about Nelson Mandela? The bond between the two? The falling out? The influence of each on the other? The perspective of 2010?

2. The title, the emphasis on the Mrs, Winnie as an individual, but in relationship to Nelson Mandela and influenced by him?

3. The authentic locations, Johannesburg, Robben island, Soweto and the towns of exile? The feel of South Africa during the apartheid era? The 1940s to
2000? The musical score?

4. The portrait of Winnie Mandela? The interpretation by Sophie Okenedo? The young girl, within her family, in the countryside, the scene of her hitting her sister, her intentions, dominating? Going to the city? The social work, the first encounter with Helen Joseph, later good friends, Helen Joseph’s advice? Her meeting Nelson, seeing him as a man, as a lawyer, at work in the courts, as political, as rebellious? Love, the wedding, the family? Her being seen in his light, the effect on her? Her arrest, the long imprisonment, solitary, her state when she was released??

5. Nelson Mandela in the foreground and background, his career, daring, his being followed by the authorities, his work in the courts, his arrest? Robben Island? His reputation from prison? The 27 years? Winnie’s visits, questions about the family, not allowed to talk about key issues and friends? The passing of the years?

6. The various time shifting with Winnies consciousness, in the immediate moments of Mandela’s release? Going back to the family, to the home, to the intrusions and searchings, her demands for the soldiers to leave her house, to her arrest and imprisonment, the interrogator and the torture? The effect, humiliation, violence, her becoming defiant, getting out, walking down the streets, in the shops, people’s reactions? Helen Joseph’s advice?

7. 1990, Mandela’s release, the preparations for the meeting, her being late, preparing, clothes, here? Her bearing? The strain of the meeting? The exit from the house, in the car, talking, the driving? At home, in the bedroom, her leaving? The divorce? His giving credit to her?

8. Winnie and relationships, the young men, the revolutionaries, the guns, defying the authorities, the marches, her defying the soldiers? Her strength, the bitterness, in action, defiant?

9. The portrait of the transformation of Winnie, the effect of the apartheid years on her, her marriage and Nelson’s imprisonment? Her transformation not in terms of peace and reconciliation?

THE RAID

Indonesia, 2011, 101 minutes, Colour.
Iko Uwais, Joe Taslim, Pierre Gruno.
Directed by Gareth Evans.

One of the most macho films you could see. I am not sure that many female audiences would want to sit through this action film.

While the director is Welsh, and the title is in English, it is very much an Indonesian film. In fact, a reviewer remarked that it was probably true to life in its portrayal of gangsters in Jarkarta and the attempt of a police squad to take down a gang. Checking with an Indonesian priest whether this might be the case, he thought that it was.

Whether the film is accurate or not, it is a literal bone-crunching, sword-slashing, gun-toting, dead and mutilated cadaver-filled actioner. There are quite a number of martial arts fights (stretching credibility most of the time if you asked whether any human being could take all these cuts and blows – and people question The Passion of the Christ! – and then get up, one after extreme torture, and launch into the fights again). There are many more shoot-out fights.

The Raid is a correct title for the film. A small squad sets out to get into a building to flush out a ruthless gangster and his main advisers, let alone the seemingly endless supply of henchmen. But, they have been betrayed. Police corruption is a pervading theme. The police are continually picked off – at one stage we see a heap of dead police – but our hero and his assistant plus a seemingly cowardly and older officer survive beyond all expectations let alone probabilities.

We see the hero at the outset at home combining tight physical exercise with contemplation of the Quran. He is obviously sympathetic and remains so, heroic beyond possible endurance. And, then we find that the policy adviser and keeper of accounts for the gangster is his brother. That brings some complications in fights and loyalties before the end.

Just in case anyone wondered whether there was any female presence in the film: the hero’s wife is pregnant and that motivates him to survive; a man who occupies an apartment in the gangster building has a sick wife who is afraid, especially when her husband hides our her from his pursuers. But, that is it.

Of course, it should be said, that the technical expertise in the film-making, the editing and the choreography of the fights is top-notch. Favourable reviews (and The Raid has been called the action movie of the year, and rights for an American version have been paid for) talk about the craft rather than the visual and thematic brutality of the narrative.

PS. Just found a sample blog on the Internet Movie Database from adhipar in Indonesia: “This film is best seen with your group of friends who enjoy hardcore and bloody fights, so you can cheer, scream, yell, sigh together and talk about it (and probably count how many ways to die/kill people in this film) on the way home.’

1. The commercial success of the film? In Indonesia? Around the world? Its becoming a cult film? A sequel?

2. The director, his British background, working in Indonesia, filmmaking? Interest in martial arts? In this kind of action film?

3. Jakarta, the city, the buildings, the exteriors, moving to the interiors? The rousing score?

4. Stunt work, action sequences, violence, brutality, the body count? Language issues?

5. The basic setup, the police, the Chief, the officers, the authorities, authorising the raid, the aims, assembling outside the building?

6. The gangsters, upper floors, the large number, the boss, his crimes, decision to defend as well as to attack? Ruthless?

7. The role of the gangsters, moving down the floors, the descent, steps, lifts, the corridors, the rooms? Strategies and tactics?

8. The action of the police, the officials, the leaders, going up, stairs, lifts, the rooms, corridors, the attacks? Police corruption and betrayal?

9. The focus on the battles, the choreography of war? Casualties?

10. The hero, his pregnant wife, praying the Koran? his place in the team, his skills, going into action, exercising leadership, martial arts skills?

11. The resolution of the raid? The validity of the police action? Success?

12. This kind of film for fans of martial arts and crime films?

THE GIRL IN WHITE

US, 1952, 92 minutes, Black and white.
June Allyson, Arthur Kennedy, Gary Merrill, Mildred Dunnock, Jesse White, Marilyn Erskine, James Arness.
Directed by John Sturges.

The Girl in White is a pleasing biography of Dr Emily Dunning, the first woman doctor to be employed by a New York hospital. It is based on the book that she wrote with her husband, Dr Ben Barringer.

June Allyson was very popular at this time, especially in musicals, but developing in more serious roles like this one. 34 at the time of the making of the film, she could still pass as a teenager when necessary. She is supported very well by Mildred Dunnock as Dr Marie Yeomans, a qualified doctor who could not be employed by any New York hospital, even though she had written some important medical books. Arthur Kennedy is the fellow student who, despite his prejudices, relents and eventually marries Emily Dunning. Gary Merrill is the medical supervisor of the hospital, initially opposed to Emily but appreciating her qualities and her interactions with her patients. There is a pleasant cameo by James Arness some years before Gunsmoke.

In many ways the film is routine in its presentation of its subject, the plight of women, the role of medicine in hospitals. But, it is very sympathetic and it is extraordinary to think back about the prejudices against women – and this film, of 1952, is looking back only half a century.

At the time, the film’s director, John Sturges, was making serious dramas at MGM, including Right Cross with June Allyson, but was soon to move to bigger films from Bad Day at Black Rock to The Gunfight at the OK Corral, The Magnificent Seven and The Great Escape.

1. A pleasing historical biography of the 1950s? Only half a century after the events?

2. New York settings, the turn of the 19th century, apartments, hospitals, wards, accommodation, Cornell University, the ambulance on the streets? The musical score?

3. The film based on actual events and characters, the autobiography of Emily Dunning?

4. The opening, the Dunning family moving, the dead father, the pregnant mother, the removalers, her collapse, the search for a doctor, finding Dr Yeomans, her initial hesitation, helping with the birth of the child, Emily doing well, commended by Dr Yeomans?

5. The aftermath, the influence of Dr Yeomans, as a doctor for decades in New York City, writing books but not indicating that she was a woman, not being able to get a job in a New York hospital? The prejudice, men thinking medicine was a man’s world, not imagining women doctors?

6. Emily, her determination, discussions with Dr Yeomans, getting her help, going to Cornell University, studies, Ben and his limerick and flirtation, the resistance? Her serious-mindedness? The male students mocking her? Her graduation? Her not being accepted into any New York hospital? Going to see Dr Pawling, his prejudices against her, dismissal?

7. The support of Dr Yeomans, her going to the medical supervisor, the threat of the media and its response? Emily being sent to the hospital, Dr Pawling having to accept her?

8. Her arrival, the reaction of the nurses, been shown to her quarters, the shared bathroom, her later getting the bath (and its overflowing)? In the dining area, Dr Graham and his insults, the suffragette movement, her clothes unsuitable for ambulance work, cutting the petticoat, changing issues, making her uniform?

9. Ben, his attraction to Emily, at the dance, the proposal, his not believing women should be doctors, only one doctor in the family, Emily’s rejection? His later being at the hospital, interest in research? Support of her? Encouragement? Yet his not fully believing in women doctors? Their work together, his gradual mellowing, the going out to the beach, their love, but Emily devoted to her work? The social for Dr Pawling, her concern about him, dancing with him, Ben’s reaction? His getting the scholarship, the radium, showing it to her, Mme Curie, his hesitations, the farewell, talking with Dr Yeomans, talking with Emily, the kiss – and the return and the later marriage?

10. Dr Pawling, severe, his wife divorcing him, his attitude towards Emily? The operation on the boy? His gradual change? The social and his dancing with her? The typhoid outbreak? Is changing the recreation room into a ward? Hiring Dr Yeomans, discovering she was a woman? His support of Emily? His saying that she had the personal quality which was important to put patients at ease?

11. Emily, work, going on the ambulance runs, Alec and his friendship, giving advice as to how to get on the ambulance? The first case, the very tall man, his dislocated shoulder and her fixing it, his appreciation?

12. Dr Graham and his pronouncing the man dead, Emily not so sure, joining with the nurses, reviving him, the press and the photos, Dr Pawling’s reaction?

13. Dr Graham, penalising Emily, putting her on more ambulance duty?

14. The aftermath of the episode of providing the man, Dr Pawling reprimanding Dr Graham?

15. The typhoid outbreak, Dr Yeomans coming, sharing the room with Emily, the discussions, especially about love, Dr Yeomans and her heart condition, her collapse, quiet death?

16. A portrait of medicine in New York City, the role of women doctors, Emily Dunning and her pioneering work, Marie Yeomans? Looking back on the male prejudice against women and their treatment of the women in the hospitals?

BULLET TO THE HEAD

US, 2012, 92 minutes, Colour.
Sylvester Stallone, Sung Kang, Sarah Shahi, Adewale Akinnuoye Agbaje, Jason Momoa, Christian Slater, Jon Seda, Holt Mc Callany, Brian Van Holt.
Directed by Walter Hill.

Bullet to the Head begins in a rather ugly fashion, two hitmen and a violent death. Soon after, one of the hitman is stabbed in a bar. The film continues in this vein.

The film is a star vehicle for Sylvester Stallone at a time when he is career was not going anywhere except for the three Expendables films. It is also a film for the director, Walter Hill, a screenwriter for 40 years with a number of very tough films that he directed. This is competent, but the whole film seems more like one straight to DVD.

The setting is New Orleans, Stallone playing Jimmy, a career hitman, with little moral sensibility. Sung Kang portrays a Washington police officer whose corrupt partner has been murdered. His life is saved by Jimmy and they work together to solve the case, uncovering vast corruption in New Orleans, an African businessmen investing in building developments as well as a corrupt lawyer assisting.

There is some respite in a tattoo shop run by Jimmy’s daughter.

A film of some brutality, moral ambiguity, done in this environment style by Stallone and Water Hill.

1. A crime drama with a difference? The central character being hit man? His collaboration with the police officer?

2. American cities, crime groups, the police, hired hitmen?

3. New Orleans, dark city, homes, offices, bars? The musical score?

4. The title? Jimmy, his background, as a child, growing up, his becoming a hitman, for hire? His associate?

5. The first job, the killing, in the bar, the associate and his being stabbed? Keegan watching them? Pursuing James, the attempt on his life?

6. Taylor, police background, competent, Korean origin? His investigations? The local police?

7. The partnership between Jimmy and Taylor? An odd couple? The tension between them? Prejudice, racism, criminals and police? Jimmy and his motivation with the death of his assistant? Taylor and his being a partner of Greeley, Greeley being dirty, the documents, wanting to investigate his death? Jimmy and his assistant being responsible? Taylor being shot by the dirty police, Jimmy saving him? They are sparring, and the repartee?

8. Information, Robert Morrell, his African background, his investments, his leading the criminal group? His disdain – and his comeuppance from Keegan?

9. Baptiste, the corrupt lawyer, helping Morrell, his self-confidence, the social and the party, Jimmy and Taylor present, taking him, the interrogation, his being tortured, giving a lot of information, Jimmy shooting him?

10. Taylor, his moral stance, his still considering Jimmy a criminal despite the help?

11. Taylor wounded, taken to the tattoo shop, his being helped, the girl, the revelation that she was Jimmy’s daughter?

12. The contact with Ronnie Earl, the information about the syndicate? The pursuit?

13. Keegan and his wanting to take over everything, the fight with Jimmy, his death?

14. The abduction of Jimmy’s daughter, the torture, Jimmy and Taylor and their expertise, Jimmy being saved?

15. The aftermath, Jimmy talking to Taylor about justice, crime, about not changing? Taylor’s interest in his daughter? His not reporting Jimmy to the authorities?

16. A routine film, the touch of the ugly, crime and brutality? The ambiguity of moral stances, especially with sympathy the Jimmy?

THE KEEPER OF LOST CAUSES

Denmark, 2014, 97 minutes, Colour.
Nikolaj Lie Kaas, Fares Fares, Sonja Richter.
Directed by Mikkel Norgaard.

Grimace and frown. This is the usual look of the protagonist of this police story, Carl Nicolai I Cass, looking more than a bit like Michael C. Hall as Dexter on television), a single-minded and relentless police officer and detective. Actually he does smile a little ironically during the film and we do see a glimmer of smile at the end. His assistant is Assad, played by Lebanon-born actor, Fares Fares, who has a great deal more humanity about him.

In the last decade, Scandinavian police stories have become popular, worldwide. We could think of Henning Mankell and Wallander, Stig Lasrsen and The Girl…, or the novels and the film versions of stories by Joe Nasbro. This thriller is in this vein – based on a series of novels by Jussi Adler- Olsen, featuring Carl and Assad. The next in the film series has already been completed.

The film opens with some banter between the police, idle and nitpicking conversation during their surveillance. Carl is impatient, does not wait for backup, goes into the house with some disastrous results for his partners and some injury for himself. It is not surprising to find that after he gets out of hospital, his superior does not want him in active service, a danger for others, and not particularly liked by most people in the local force. He is given a new assignment, a small office in the basement when he has to study all the cold cases of the previous 20 years – the lost causes of the film’s title being these cold cases. And Assad is assigned to him, not immediately happily for Carl. But we know, eventually, with ups and downs, they will be able to work together, each saving the other’s life.

Assad arranges the cases with photos on the wall and Carl’s eye is caught by one that he remembers and he begins to follow it.

For those of us who are always intrigued by current novels with police investigations, be they in the US, Australia, the UK or in other contexts, this film will be very satisfying. It shows the police work, step by step, the police using their brains, intuitions, discovering leads, following them, working on hunches, and all this, despite the objections of the powers that be, quite realistically. The screenplay opens up the mystery, tantalises the audience with what might have happened, then starts to give the audience more information than the two police have so that the audience is always waiting for the police to catch up, providing solid tension for the mystery.

The victim is a young woman, involved in politics, who had attended a conference in Sweden and then, on a ferry ride with her younger brother who had suffered brain damage in a car accident when the two were young, she disappears, presumed suicide, presumed drowned.

Carl’s methods are blunt and direct. He has very little to happiness in his life, his wife has left him, his stepson can’t stand his mother and so stays with Carl, sometimes embarrassing him. It is only his job and his determination to live for it that gives him any satisfaction. We don’t know anything about Assad (except that we do see him kneeling and bowing on his carpet in Moslem prayer at the end of the film). But, Asaad has the human touch, especially his patience in sitting with the disappeared woman’s brother, something which pays off when he sees a photo.

Just when it seems that Carl and Assad have finally found their man, there are some twists which give more meaning to the film – and the audience could realise that they were given some clues early on which might have given them the motivation of the criminal.

The film is lower key than some of the other Scandinavian stories, but interesting because of the tension between the two characters, the detail of the detective work, so that it is quite a satisfying hundred minutes. Here’s hoping that it will not be too long before the second film in the series will be released.

1. The popularity of Scandinavian stories, police investigations, their tone?

2. The Danish film, dark, the opening surveillance car, police offices, hospitals, investigations, mcore?

3. The title, the Danish title focusing on the bound girl? The lost causes as cold cases?

4. The tone, the initial chat, impulsive going into the house, the dead man, the police being shot? The dead policeman? The policeman in hospital, possibly paraplegic? Carl to blame, the consequences?

5. The police chief, the interview with Carl, not allowing him on active duty, relegating him to department Q, Carl’s plea? The reasons, Carl’s shaking hand? Assad appointed as his assistant? The room, the loud music, his reactions?

6. Their working together, the cases, Assad putting the photos on the wall, Carl’s noticing the photo of the woman who disappeared? His choice? The decision not just to file the case but to investigate?

7. Carl, his age, career, his wife leaving him, the son, the son coming home, with his girlfriend? Carl as an isolated character?

8. Assad, no back story, eating of the same restaurant, making the coffee, Carl’s disliking it, a cheerful man, interested in pursuing the investigations, collaboration?

9. The detective on the case previously, the flashbacks? Into the life of the victim, the conference, meeting people, the photographs taken, her brother, the memories of the car accident, taking care of her brother, in the institution, on the ferry, the brother with a man, his sister’s disappearance? The enquiry, the police officer on the job, his lack of memory, the attitude of the Chief? The decision for the disappearance, suicide?

10. Information given to the audience ahead of the police, the catch up for the police, creating tension?

11. The container, the different pressures, degrees, the bins for food and waste, changed every day? The girl affirming herself and not giving in? The tormenter talking to her? One year passing, the players and the extraction of her tooth, the pain? Seeing him, the memories?

12. Carl and Assad, getting leads, Assad going to see the girl’s brother, Carl and his abruptness, the complaints of the staff, Assad’s patience, discussions with the nurse, the boy recognising Assad? The photos, the visit to Sweden and the police demanding their return? Taking the documents? The photos, the identification, the false identity? His death, the audience seeing this? The two being sacked, not allowed to investigate? Going to the orphanage, the flashback to the young boy, the abuse, his humiliation, his killing his killing the perpetrator? At home, his mother, going to kill the girl, Carl’s arrival, the discoveries, the fight, the violence, Assad hitting the murderer, saving Carl?

13. The rescue, the girl in hospital, recovery? The police chief acknowledging what Carl and Assad had done? Getting their badges back? Carl wanting to stay with the cold cases?

14. Anticipation of the sequel?