CRAZY/BEAUTIFUL


US, 2001, 99 minutes, Colour.
Kirsten Dunst, Jay Hernandez, Bruce Davison, Lucinda Jenny. Taryn Manning.
Directed by John Stockwell.

Over the last few years, a screen genre has started to gain momentum: the Kirsten Dunst teenage movie. She has proven that she is a very talented actress and has a strong screen presence - and she is not twenty yet. She made impact in Little Women as well as Interview with the Vampire. She has done excellent cameos in films like Wag the Dog. In 1999, she appeared as a doomed teenager in The Virgin Suicides, a grim look at respectable America and the malaise beneath the surface. Since then she has moved to some comedies, the Kirsten Dunst teenage movies. in 2000 there was the amusing cheerleader rivalry in Bring it On. Earlier this year there was the High School romance (during the performance of a musical version of A Midsummer Night's Dream), Get Over It.

In the former films, Kirsten was the nice, sparky and sympathetic student. In Crazy/Beautiful, she reverses roles. She is a rich, spoilt brat, resenting her mother's suicide and her senator father's remarriage. And persuasive she is in that role. The beautiful is Jay Hernandez performing the function she had done in the other films. He is a conscientious Latino student who is attracted to her, tries to help her and almost ruins his own life in the attempt. Bruce Davison is the senator who turns out to be a sympathetic father who supports the young man in trying to help his daughter. Nothing startling, but not too bad.

1. The appeal of the film? Teenagers, High School? Romance? Dreams? The craziness and the beauty?

2. The California settings, the town, homes, affluence, High School? The contrast with the Hispanic family, the home, the bus travel to school and back, two hours each way? The highlighting of the contrast? The atmosphere, the town, the streets, the beaches? The musical score?

3. The title, Nicole as crazy, Carlos as beautiful? Nicole and the possibility for her to change? Carlos and the influence of Nicole and his changing?

4. Nicole, her age, the death of her mother, her dislike of her stepmother? The tension with her father? His being a politician? His concern about her? Her friends? The easy life, drugs, avoiding school and responsibilities? Self-destructive? The scenes with her friend and her influence?

5. The contrast with Carlos, his place in the family, his parents and their concern, his siblings and their influence? An earnest young man, travelling so long to school, his wanting a good education, at school, his hard work, a decent young man?

6. The encounter between Nicole and Carlos? Chance? The response? Carlos and his falling for Nicole, his concern, trying to do the best for her? Nicole, lack of responsibility, the possibility of dragging Carlos down, his dreams, wanting to be a pilot?

7. Tom Oakley, his life, politics, influence? The death of his wife? His re-marriage? The personality of his new wife, Nicole disliking her?

8. Tom, his interventions, concerned for Carlos, warning him about his daughter? Arranging the interview for him? Nicole’s reaction?

9. Carlos, giving up his dreams, wanting to help Nicole – her response, helping him, fulfilling his dream?

10. This film is different from other teenage stories? Some more depth?

HUNT THE MAN DOWN

US, 1950, 69 minutes, Black and white.
Gig Young, Mary Anderson, James Anderson, Willard Parker.
Directed by George Aichenbaum.

Hunt the Man Down is a neat little police investigation story, opening with a robbery in a diner and the dishwasher thwarting it but killing the assailant. It emerges that he was wanted for murder, arrested, found guilty but escaped 12 years earlier. He now has the public defender looking for him to prove his innocence, trying to track down the people he was associated with at the time of the murder.

Gig Young is the public defender, James Anderson the accused, playing it low key rather than loudly protesting his innocence. In tracking down the witnesses, there are complications with a blind war veteran, the death of the girl he loved, the wife of the murdered man and her new husband, a divorced couple, the man having links to LA organised crime. There is a twist at the end with the girl, believed dead, still alive – and still pulling the ropes and committing the murder. She is played by Cleo Moore.

It is the kind of plot that would be used in many television police series.

1. The title, expectations? The man accused of murder, his being found guilty, denials, caught up in a new episode, 12 years later?

2. Black-and-white photography, 1950s style? The touches of realism? City streets, police officers, mansions, apartments, the chases on the highway? The musical score?

3. The opening, the girl at the diner, being sweet on the dishwasher, his playing the piano, the attempted robbery, the flight, the assailant being killed? The man avoiding the newspapers, yet his photo on the front page, recognised by the prosecutor, determined to bring him to court again?

4. The public defender, his work, personality, going to his father, the veteran cop with one arm, inviting him to help him on the search of the witnesses? Their work together, the interest in tracking down the witnesses? And the father asking his son later for a job with him?

5. The accused telling his story, the flashbacks, going to the drink, spilling it, invited back to the party, playing the piano, the friendliness of the guests, Joan and her husband absent, his sudden return, paranoia, punching Richard, the gun, on the bed, Richard threatening him? The later news of his murder and the fingerprints on the gun?

6. The case, the collage of the witnesses, their lack of knowledge, surmising that he was the killer?

7. 1950, 12 years passing, finding the witnesses, the man on the street, the informants? Finding Maguire, with the woman, his being drunk, his pretending to pass out, phoning the gangster? The PD’s father, in the car, the pursuit, the shooting, the killing of Maguire? The theatrical agents, the information about Maguire’s wife, the puppet theatre, the wife and her work, and nerves, in an institution, the divorce? Her love for her husband?

8. Joan, the new marriage, going to visit, wealth, the hostile reception and the questions?

9. The blind veteran, his distinctive name, his talking and memories, Patricia, her being dead, the PD taking him to the cemetery, the false name on the grave, tracking down her roommate, the aunt and her son, their brutal reception? The girl herself, in the institution, her testimony?

10. The court case, the interrogations, the PD, the sudden arrival of the nervous girl, her talking, the revelation of Patricia in the witness box, her dress, change of name, the blind soldier and his dismay, her connection with the murdered man, the revelation of the story, her killing him? The killing of Maguire, the threat on his wife? The performance of the demented woman, her outburst leading the woman to confess?

11. Some reality holes in the plot – but holding the attention while on the screen?

CHARADE

UK, 1953, 81 minutes, Black and white.
James Mason, Pamela Kellino.
Directed by Rory Kellino.

At the opening of Charade, the audience sees James Mason and his wife Pamela, discussing various stories and the possibilities for their becoming films. They are short stories and the decision is made for an omnibus film, in the pattern of previous films from the UK like Trio. The pair go on to enact three stories, coming back to their home each time to discuss each story as well as preparation for the next. The director is Roy Kellino who was formerly married to Pamela.

The budget is a very small so the stories have limited locations, one in Paris, one in military barracks in the 18th and 19th century, the other one in the United States.

The film offers an opportunity for James Mason to do three tour-de-force performances, as a sinister art-lover in Paris, a military man involved in a duel, and a man with as the title suggests, the Midas Touch, becoming wealthy with whatever he becomes involved in.

1. Introduction to James Mason and his wife, Pamela, at home? The relationship between them, conversations, at ease, talking about the short stories, the suitability for their being filmed? The possibilities of roles for each of them?

2. Black-and-white photography, the sequences, the Paris apartment, the military barracks and the field for the duel, the American contemporary offices? Musical score?

3. The Paris story, the artist’s apartment, five years in Paris, yet very British, her voiceover? The dislike of her neighbour, the poor piano playing? Her ill thinking of the pianist? Hearing the visitor, playing the piano better, the silence, her going out into the corridor, the sense of the man, the lift? The sketch? Murder? The interrogation by the police? An arrest? The court case? The arrival of the artist, his friendship with the woman, in, love, looking at her sketches, seeing the portrait of himself? His settling in, the development of the relationship? The discussions about art? The newspapers, his interest, going to the court, the woman saying she was not interested? The evidence against the man? The discussions about giving testimony, the possibility of change, the freeing of the man? The artist and his conversation, her wanting to return to Britain, his talking to her, his madness, strangling her?

4. The military story, Alexandre Dumas, 19th-century, barracks and uniforms, codes of honour, playing cards, offices and gentlemen? The arrival of Paul, his reputation, the wariness of the card players, his former superior and his welcome? Playing cards, his practising shooting every day, the taunts of the officer, the challenge to the duel? The conditions, only one bullet? The arranging of seconds? The doctor, his advice? The fiancee, her love for Paul, the previous relationship with the challenger, the disdain and breaking off?

5. The preparation for the duel, Mason and his sense of honour, the fiancee and her writing the letter to her father, the letter from Paul, the maid to give it to him?

6. The duel, lining up, only one bullet, Paul not having the bullet? His opponent, the challenge, or Paul emphasising his honour? No bullet? The reaction of those present, thinking the challenger was a cad, his admitting that Paul was not a coward? Paul arriving in time to stop his fiancee killing herself?

7. The Midas Touch, the voice-over, the businessman and his having success in every venture, the examples given, working in his office, the visitor and the investment, his picking up the dropped coin?

8. Jonah, seated at his desk, so many phones? His wife, Dottie and his dislike of her, her demands? The challenge from his friend Jack, their hitting each other? His decision to change? Giving everything up, letting the company run itself? Going to England, looking at the different jobs, rubbish in the park? His gambling and always winning? His job in the household, his friendship with Lilly, marrying her? The Master, grumpiness, sewing buttons, playing chess, the master cheering up? the plan to go on the yacht? His detailed attempts to put Lilly off going on the yacht? Her talk about America, film stars, Bob Hope…?

9. The return to his company, even more phone calls, different jobs, Lilly getting the job in the play, her clothes, discussions with Jack, going out to lunch?

10. Leaving Jonah, still absorbed by his work – and successful?

BARAN


Iran, 2001, 94 minutes, Colour.
Zahra Bahrani, Hossein Abedini.
Directed by Majid Majidi.


Baran is the fifth film of the noted writer-director Majid Majidi. He won a number of awards for his moving films about children, Children of Heaven, The Colour of Paradise. Once again he returns to children's themes, but this time the focus on an adolescent girl.

The film opens with comment about Afghan refugees during the '90s and over a million (those counted) in Iran. (The film Kandahar about Iranians and Afghan refugees also came out in 2001.)

The film is set mainly on a construction site in a city. Afghans are forbidden to be employed as workers. However, Memar, the foreman, employs a great number of them, concealing them from the inspectors. While he seems a taskmaster, he is actually kindly towards his workers, protecting the Afghans, befriending some of them personally, providing better conditions for their work. He has also taken under his wing, a son of a friend of his, Lateef, who buys the food and is the tea-boy. However, Latif is displaced by Rahman, the son of an injured worker.

Latif resents this but suddenly discovers that Rahman is actually a girl. He then becomes infatuated with her - from a distance. This love transforms his life, giving money to help the Afghan refugees, scarcely revealing himself to Rahman as in love with her, but helping her father and the family return to Afghanistan, a complete self-sacrifice.

The film makes vivid comment on the situation of the Afghan refugees. It shows ordinary daily life on a construction site in Iran. It offers deep insights into the nobler aspects of human nature. A moving experience.


1. The impact as an Iranian film? The Iranian film tradition, for so long, creating masterpieces, recognition throughout the world? A film industry of humanity?

2. The work of the director, his humanity, focus on children? On adolescents?

3. The location photography, the building site, the city, the drab conditions for the workers, the surrounding countryside? The focus on the characters, close-ups, interactions – suggestions of emotion? Visual symbols? The musical score?

4. Iran and Afghanistan, the huge number of refugees, trying to get work in Iran, forbidden by law to work? The possibilities for repatriation?

5. The portrayal of action, work, the building, the serving of food? Life at home? The building site, injuries, the special jobs? Few words – and with Baran not saying any word throughout the film?

6. The building site, the work, the foreman and his sympathy for the Afghans, shielding them from the inspectors? The injury, Baran’s father and the need for her to work? The need for the disguise?

7. Latif, his age, not doing so much work, his place on the site, with the other men, the details of his life? The injury, Rahman having to work, her father and the needs, financial support? Latif and his reaction, resentment? Playing tricks on Rahman? The discovery of the truth? The loss of resentment? The attraction? His change, the inequalities, helping Rahman, picking up the fruit, attentiveness – but almost at a distance? A growing tenderness?

8. Rahman, her character, love her father, going to work, the difficulties, the disguise, carrying the food? The reactions of Latif, his tricks on her? Her revealing the truth? Her attitudes towards him?

9. The inspectors, the difficulties of the Afghans, their being dismissed from their work?

10. Latif, his response, helping? His sacrifice ease money for the family? The buildup to the family leaving, the packing, Baran on the track?

11. The truth of Latif’s love, watching her go, the hat and the hairpin? His contemplating the curtains? The departure, her footprint in the sand, the rain falling on the footprint – and Baran meaning ‘rain’?

12. The quality of the film, its realism, simplicity, beauty and humanity – and an illustration of the Iranian spirit?

10 YEARS

US, 2011, 100 minutes, Colour.
Channing Tatum, Jenna Dewan- Tatum, Justin Long, Max Minghella, Oscar Isaac, Chris Pratt, Ari Graynor, Scott Porter, Brian Geraghty, Aubrey Plaza, Aaron Yoo, Kate Mara, Lynn Collins, Anthony Mackie, Rosario Dawson, Ron Livingstone.
Directed by Jamie Linden.

10 Years did not receive much theatrical release – surprising insofar as it was produced by Channing Tatum and had a strong name cast.

Its narrative is fairly straightforward, a group of young people coming for their 10 year high school anniversary, a range of characters, both men and women, eight aged around 28.

The film takes place over the evening and night of the reunion. Various friends arrive, meet each other, compare notes? There is a focus on Jake and Jess (Channing Tatum and his real life wife, Jenna Dewan), he wanting to propose to her but still wanting to settle his relationship with Mary, 10 years earlier (Rosario Dawson). A number of the friends go to the house of Curry and his wife, Sam, who have two children. Curry is rather boisterous (Chris Pratt and Ari Graynor). Two friends also arrive, considered to have been successful in their lives (Justin Long and Max Minghella). They both have memories of the glamorous Anna (Lynn Collins). There is also Garrity and his wife Olivia (Brian Geraghty and Aubrey Plaza). Scott Porter plays a friend and there is a group of students who were bullied by Curry at school.

In some ways the evening goes as might have been expected, a lot of talk, a lot of bravado, a lot of drinking, a lot of false memories. However, as the film continues, there is some more depth, Jake and his meeting up with Mary and her husband (Ron Livingstone) and sorting out his relationship with her – or, rather, she reminiscing very sensibly and giving some sound advice to Jake. Sam has to put up with her husband drinking, singing karaoke, getting sick, making a fool of himself with over-and-over apologies to the group that he bullied at school. More moving is the unexpected story of Marty and A.J. who have their own emotional tangles, have pretended to be more successful than they are, who follow her home and discover that she has two children and they settle down with all of them telling the truth with young children at table over a meal cooked by A.J.

In this way, the film rather improves as it goes a long, the characters becoming more interesting, and the interrelationships a touch deeper.


1. 10 years reunion story? All the characters aged around 28? The life experience so far, flaws, expectations of the reunion? And their behaviour?

2. The New Mexico sitting settings, mainly the homes, the reunion hall, Pretzels, the supermarket, Anna’s home? The musical score? The songs, especially that for Reeves?

3. The setting, around 2000, young 21st century American types? Men and women?

4. The characters, their interactions, the dialogue, self -revelation?

5. The rivals, meeting, after 10 years, the amount of time since each had seen the other? In themselves, their partners, waiting for Mary to arrive? Families?

6. At the reunion, everybody arriving, the tags, the complementary photo, meetings, all taking photos, the happiness, meeting people again, the talk, the drinks, the tables and places, the revelation of the bullying and Curry and his apologies? The crises at the reunion? People going off to Pretzels, more drinks, the karaoke, the singing, the two men going to Anna’s house, Mary wanting to dance with Jake?

7. The story of Jake and Jess, Channing Tatum and his real-life wife as Jess? Their time together, love, his having the ring but not having the confidence to propose? Jess as an observer, not a past student? The situation with Mary in the past? The friendship? Discussions, with the other men and the conversation about the proposal and the ring? Jess wanting to leave, giving Jake the opportunity to meet Mary? Her arrival, their talk, watching the photos, memories? The past, the facts about the prom, in hospital with her father? Paul and his presence? Mary married? Paul, the outsider, communicating with his business friends, wanting to leave early? Mary and Jake at Pretzels, her giving him advice about marrying Jess? The dance? Jake, getting the ring, coming home, Jess knowing him better than he knew himself?

8. Curry and Sam, their home, the children, the visitors, the children coming out? Sam and her statement about Curry’s drinking? Curry and the past, the bullying, the Chinese student, the others in the group, his drinking and his over apologising? His singing karaoke, Sam attempting to drink, Curry and his being sick, going home? What would the aftermath be?

9. Marty, his success, yet the truth about his small apartment and his not having money? Pretending to be the man about town? The friendship with A.J.? The years and comparisons? At the reunion, uncomfortable, looking at Julie, looking at Anna? A.J..and his infatuation with Anna? Her glamour at the party, her dress, the photos, talking about the glow she had in the past? Hoping she still had it? Her going home early? The decision to follow her, at the supermarket, buying the toilet paper, putting it all over the trees outside her house? Her finding them, identifying them? Their coming in, her making them clean up the mess? Their concern about her mother, sound sleeper? The sound of the child, discovering that Anna had two children, unable to speak about the fathers? The change in atmosphere, the reaction of the two men, the telling the truth, Marty about his poverty and his apartment? And his relationship with women, the sole model? A.J. and the truth about his wife leaving him, his pretension in having the boat he could not say hell?

10. Porter, cheerful character, the songs, working in the bar?

11. Garrity, Olivia, married, the awkwardness at her watching Garrity with the boys, Olivia just watching, his doing the gymnastics and spinning on the floor, her surprise and smile?

12. Reeves, being quiet, the fact that of his success as a musician and performing, the women praising his song?

13. Elena, arriving, alone, the photo, her being on the edge? Meeting with Reeves, going for the long walk, the talk, the memories, her yellow shoes? The photo with herself on the outer? At the table, his singing, realising the song was about her, the reference to the yellow shoes, the girl he never had? Her appreciation? The end, her phone number in case he came to the town again?

14. The girls, glamour, flirting, dancing?

15. The bullied group, together, the Chinese man, Curry and his overbearing apologies? His talking with Sam? Her attempt to have a drink?

16. The comparison of this film and treatment with other reunion films? This one quiet in comparison? With touches of depth?

THE GAY FALCON

US, 1941, 67 minutes, Black and white.
George Sanders, Wendy Barrie, Nina Vale, Allen Jenkins, Gladys Cooper, Edward Brophy, Arthur Shields.
Directed by Irving Reis.

This is the first of the series of the Falcon films, first with George Sanders, then a film with his brother Tom Conway, playing his brother, who then took over the role of the Falcon. At this time, Sanders was also appearing in the series of The Saint based on the Leslie Charteris novels.

Sanders sets the tone with this film, although it is a surprise to see him so flirtatious in a more juvenile style as well is doing a wolf whistle.

The plot is rather slight, Gay Lawrence and his sidekick, Goldie Lock (Allen Jenkins) working in a broker’s office at the insistence of the Saint’s fiancee (Nina Vale). One of the difficulties of the film is that Sanders and Vale really show little chemistry so that his insistence on marrying her is not quite believable. She wants him to go to a party, managed by Gladys Cooper (very surprising to see her in this film, in this role as well, and being the villain, while she was, for many years, more of a grande dame in films). There have been jewel robberies at parties and there is one here, but also a murder. The Falcon is, of course, interested in solving the case, assisted by Wendy Barrie who becomes infatuated with him but likes to think of herself as one of his Dr Watson characters.

Poor Goldie Lock is taken by the police, as a suspect for the murders – something which happens in several of the other films. Of interest, while Allen Jenkins portrays Goldie in this film, one of the police officers, played by Edward Brophy, will become Goldie to Tom Conway’s Falcon. The other policeman is played by Arthur Shields, Barry Fitzgerald’s brother.

There is a suspicious character played by Turhan Bey. There is another murder, and other suspicion for Goldie, the Falcon doing his best to solve the mystery and confront the killer. But he thinks that there is a bigger brain behind the enterprise – and there is, Gladys Cooper, who has had a connection with a jewel thief, her husband, who served time in prison and joined him in the enterprise when he got out of prison.

In many ways the film is quite routine, but there is some enjoyable repartee in the screenplay, directed by Irving Reis who directed a second Falcon film.

IT'S ALL ABOUT LOVE

Denmark, 2003, 104 minutes, Colour.
Joaquin Phoenix, Claire Danes, Sean Penn, Douglas Henshall, Margo Martindale, Alun Armstrong, Mark Strong.
Directed by Thomas Vinterberg.

Thomas Vinterberg directed one of the most effective films under the 'Dogme 95' banner, Festen. It probed under the surface of Danish family respectability. It is not quite clear what he is doing with It's all about Love.

The films looks very good (no Dogme minimalism here). The setting is the 2020s in a world where temperatures have become colder rather than global warming, a world where people are self-preoccupied and don't notice the dead bodies lying around the city streets, that kind of world.

The focus is on a young Polish man, Joaquin Phoenix, who visits an American city to sign divorce papers. His wife, Claire Danes, is a champion figure skater. She wants to retire. It seems a company are making clones of her to continue her career. This does not work out, the couple flee and end up in the snow and... who knows? (and one is tempted to ask: who cares?)

To give the plot some solemnity (not that it needs it), Sean Penn appears as a man afraid of flight who has overcome his fears, telephones his brother and keeps flying because there is too much ice and snow on tarmacs to land.

1. A strange film, complex plot, futuristic issues? Audiences being divided? Hostile or being absorbed by the atmosphere?

2. The career of the director, the influence of Dogme, this film as the opposite in style, lavish visuals? The musical score?

3. The title, the relationship between John and Elena? The separation, alienation, meeting to sign divorce papers, the threats to Elena, the decision to flee and be together?

4. The director working in English, the mixture of strange accents? The international cast?

5. The locations, New York City, the plains, the interiors?

6. John and his Polish background, relationship with Elena, the break, the desire for the divorce? Meeting her again? Her strange situation? The decision to leave? The hopes for rediscovering love?

7. Elena, ice skating, champion? Her career? Her marriage, separation from John? New York City, the decision to sign divorce papers? The threats to her, the clones or the doppelgängers, the sinister people behind the plot? Getting rid of her and substituting the doppelgängers? To what purpose? Her meeting John, whether to sign the papers on not, the decision to flee, to discover their love for one another?

8. Themes of the weather, the increasing cold, snow in July in New York? The upsetting of the seasons? The suggestion that this was all symbolic of the cold in human hearts and the need for love?

9. The conspiracy, those behind it, the clones, the doppelgängers, targeting Elena?

10. John’s brother, his observations of people, a guide, philosophical, his attitude towards flight, continually flying around the world?

11. The Ugandans, tied, the African background, their flight in the plane, to what purpose?

12. The continuity of the plot, lack of continuity? Episodes seeming absurd? Or simply images for the audience to surrender to, to experience them and to feel rather than to think?

Z ODZYSKU (RETRIEVAL)

Poland, 2006, 103 minutes, Colour.
Antoni Pawlicki, Nataliya Dvovina.
Directed by Slawomir Fabicki.

A contemporary Polish slice of life, grim but with some hope for redemption.

Woitik is 19, in casual jobs, in a relationship with Katya, a young woman with a son, from Ukraine. His prospects are clean-up in a pig farm. When he participates in illegal boxing matches, he is offered a security job by a local petty gangster with a surface charming manner but a brutal philosophy especially for the retrieval of money loaned.

It is not hard to guess what happens. The important thing is to watch how Woitik falls lower and lower and wonder whether and how he will experience a change of heart. His love for Katya and getting her residence and work papers? His love for her son whom he treats as his own? His strong-minded grandfather? His fat mate who also gets a job as a thug? When Woitik returns to the pigs, it is a reminder of the parable of the Prodigal Son. As he swims home across the river, the symbolism of washing, cleansing and healing is a final image.

Life in a modern Polish industrial town is not easy. But values still have their place.

1. Polish life at the beginning of the 20th century? The aftermath of communism, the growth of capitalism? Ordinary life, the seemier side of life? Despair and hope?

2. The locations, homes, clubs, boxing matches? Musical score?

3. The sense of realism, hand-held camera, editing?

4. The portrait of Woitik, his relationship with Katia, the child? The strong bonds? His wanting to do something? The matches, the money? The entrepreneur, smooth manner, encouraging Woitik’s secret matches,, the association with gangsters? Woitik caught up in this world? Possibilities of escape?

5. Katia, coming from Ukraine, with her child? Trying to survive, believing in hard work for success? Her work in the club, janitor, the seedy atmosphere? The men and their approaches, the possibilities? Yet her wanting a more simple life?

6. The businessmen, smooth manner, encouraging Woitik, his hard approach to life? The boxing, gangster world, giving Woitik the security job, the demands on him?

7. The film immersing the audience in this Polish world, identifying with the characters and their struggles, their hopes – and possibilities for a better life?

BASQUE BALL: SKIN AGAINST STONE

Spain, 2003, 110 minutes, Colour.
Directed by Julio Medem.

Julio Medem comes from the Basque country but has established himself as a major Spanish director (Lovers of the Arctic Circle, Sex and Lucia).
Disturbed at attitudes towards the Basques, towards the activity of ETA and by the stances of the conservative government which lost power immediately after the March 2004 bombings in Madrid, he decided to interview as many people as possible, from the widest range of opinions as possible and collate them into a documentary which would enable audiences to hear all sides of the question. Some ETA representatives declined as did some government spokespersons (in fact, the government denounced the film, sight unseen, and wanted it banned). Despite the limitations, Medem has constructed a documentary that provides plenty of material for thought - and an attempt to listen and talk rather than denounce and resort to violence.

The result is a film that runs almost two hours. Available also are three 90 minute episodes for television, a five hour DVD version (incorporating interviews that could not be used in the film or for TV) and a website.

For those not familiar with the detail of Spanish history and politics, there is a great deal of information as well as some time for reflection. Medem believes listening leading to reflection is the best catalyst for reconciliation.

THE LAST IMPRESARIO

Australia, 2014, 85 minutes, Colour.
Michael White, Gracie Otto, Naomi Watts, John Cleese, Anna Wintour, John Waters, Kate Moss, Lorne Michaels, Yoko Ono, Nigel Planer, Rachel Ward, Richard O'Brien, Robert Fox, Bill Oddie, Michael Billington, Nell Campbell, Lyndal Hobbs, Patricia Quinn, Peter Richardson, Julian Sands, Jim Sharman, Meryl Tankard, Barnaby Thompson, Alan Yentob.
Directed by Gracie Otto.


It is Greta Scacchi, early in this film, who says that Michael White is the most famous person you have never heard of. This lively documentary is an attempt to make him known, now that he is almost 80, has had a stroke, and has not been involved in his impresario work of producing and financing theatre, films, the arts for many years.

And who is Michael White and is it worthwhile a film being made about his life?

His parents were refugees from central Europe, and he was born in 1935. An asthmatic, he was sent to boarding school in Switzerland, a lonely experience, although he says it gave him a broader international outlook. By the 1960s, he became interested in promoting experimental theatre in London, which continued during the 1960s, especially the swinging 60s, where he was swinging along with the most energetic of the clubbers, drinkers, drug-takers.

White took risks in promoting plays, clashing with the quite censorious Lord Chamberlain’s office at the period. One of his greatest risks was the financing of Kenneth Tynan’s Oh Calcutta, the musical review which put nudity on the stage. However, frequently during the film the camera’s panning of a wall in his office shows a large panel with the posters of many, very many, plays that he put on, including some pieces by Barry Humphries (and Barry Humphries recalls the failure of his show, Housewife Superstar, on Broadway in the 1970s).

In fact, this is a film with myriad talking heads, all talking very personally, all warm in their admiration of Michael White and what he achieved as well as their own relationships with him. Some of the interviewees are Naomi Watts, Kate Moss, John Cleese, Anna Wintour, Yoko Ono. This jigsaw of personal testimonies does build up quite a portrait. It includes the background of his two marriages, his relationship with Australian media personality Lyndall Hobbs, interviews with his children and their interpretations of their father. Particularly helpful are the scenes with his first wife, Jill, who obviously has a great liking for her former husband – they divorced in 1972 – and has helped him in his illness.

The Last Impresario is a very well researched, documented and edited documentary. The film draws on more documentary material, photographs, video material as well as the interviews than might have been expected. The project was initiated by actress, Gracie Otto (Barry Otto’s daughter, Miranda Otto sister). She came across Michael White at the Cannes film Festival, a Festival he had attended every year since 1968. She found him at parties, meeting celebrities and decided to ask questions. She has a very blunt style in asking questions, which he comments on at one stage as being very Australian, and with her brother metallic voice, it is a wonder that he agreed to allow her to film him and make the film. but, she has persevered and put together quite an impressive portrait.

For those interested in British theatre and film, with extensions to Broadway, the film serves as a useful overview from the 1960s to the present. There is more detail than might have been anticipated. And this aspect of the historical overview is very enjoyable, entertaining.

But, having said that, one wonders about White himself. For those fond of meeting the rich and famous (though on a world level he is not so famous and, with the rather generous supporting of the arts and allowing himself to be swindled, especially in the case of the rights to The Rocky Horror Show, not too rich), this is a celebrity experience. But whether ordinary people would be interested in this life or even in meeting him, might be another matter.