THE BROKEN CIRCLE BREAKDOWN

Belgium, 2012, 111 minutes, Colour.
Johan Heldenbergh, Veerle Baetens, Nell Cattrysse.

Directed by Felix van Groeningen.



This film was Belgium’s nomination for the Oscar for Best Foreign Language Film. It deserved to be.

There is so much joy, so much sorrow, so much anger in under two hours that the film has quite a profound effect on its audience. It is based on a play by the lead actor, Johan Heldenbergh (Didier), who is obviously at home in his performance, his character, words, singing, deep emotions.

Somebody who found the film sometimes difficult to follow noted that it was “chronologically impaired”. For those caught up in the film, this is not really a difficulty, even though the film has many flashbacks and flashforwards. There is always something to anchor audience attention as to the time in the narrative, starting in the late 1990s and moving through to 2006.

During the opening credits, there is an introduction to the Bluegrass Music which pervades the whole film, the song about the circle being broken. the lyrics indicate something of the themes for the film and this is the case someone to come and ease the pain, as well as the song in the final credits about a soul never dying.



Didier is a banjo player (and there is a substantial justification for the use of the banjo and its history), who performs the song songs with a group of friends. He loves America, idealises it. At a tattoo shop, he comes across a vivacious young woman, Elise (Veerle Baetens), and invites her to one of the concerts. She doesn’t quite believe that he is a performer but is caught up with his music. They live together and, within a short time, she becomes pregnant. His immediate reaction is not enthusiastic and she is taken aback, but he comes to terms with his becoming a father and they go through a wedding ceremony.

The film also shows what is happening in 2006. Their lively young daughter, Maybelle, become sick and is diagnosed with cancer, needing hospitalisation, chemotherapy and stem cell treatment. The screenplay has a great deal of moving backwards and forwards from the time that Maybelle was a baby, beginning to walk, growing up with her loving parents as well as with the band and her father’s mother. Nell Cattryse’s acting as Maybelle is absolutely convincing, the audience readily believing how sick she is, suffering, yet often playful, grieving when a bird flies into the glass on their terranda and dies. Which serves as a symbol for what is happening to her – and her mother later putting stickers of birds on the glass so that they will not crash, her husband incomprehending about a bird’s DNA not stopping them hitting the glass.

A warning. This review will now add a detail which audiences anticipating the film may note not want to know and leave the review until after viewing.

Halfway through the film, Maybelle dies.

We have shared the joy and the pain in an intense way, so convincing are the performers, so well-written are the scenes – and so touching the songs.

Now, audiences will be anticipating the tensions between husband and wife as they try to come to terms with the death of the child. The mother withdraws, blaming herself, blaming her husband, saying that he did not want the child, telling him that there was cancer in his family and not in hers. The husband tries to reach out to his wife but is prone to outbursts of anger, confronting his wife, and then in an extraordinary outburst during an on-stage performance at the end of the film, after watching George W. Bush on television vetoing legislation that would allow stem cell research and usage. The father, so angered by Bush, lashes out verbally against him, against fundamentalist Christians, against God, one of the most vitriolic attacks on Yahweh and the perceived merciless dictatorial action of God on people who suffer.

The mother has an emotional and imaginative faith, thinking of her dead daughter as a star, or as a bird who will come to visit her. She stands up to her husband, expressing the “faith” of a person who does not have strong religious beliefs but has hope.

Earlier, there has been a surprise when Elise is seen in an ambulance with the medical staff trying to revive her. This is explained later, after she moves away from her husband, yet still performs songs with him, especially the song about coming to ease the pain. But, it is all too much for her. The father does murmur to his wife that when she sees Maybelle, she give her his love.

Many will find the film quite emotionally draining – but it would probably repay viewing, the audience understanding better the time shifts, empathising more deeply with the characters and their joys and sufferings.

1. The impact of the film? Seems? Emotions?

2. The title, Blue Grass music, the lyrics? Didier and his praise of the music and the United States?

3. The insertion of the songs throughout the film, the opening, illustrating characters, the themes of suffering and pain, the final credits song and the soul surviving?

4. The structure of the film, 2006, the action going backwards and forwards, the initial meeting, the music, the relationship, the child, the child growing up, illness, the treatment, the child’s death, burial? The second half of the film and the husband and wife dealing with the tragedy? Coping or not? The flash-forwards to the ambulance sequence, back to the action? The effect of this kind of movement in time throughout the film, the screenplay giving enough clues as to where the action was?

5. Didier and Elise, singing, the relationship, the film going back to the tattoo shop, the initial meeting, the invitation to the gig, Elise’s response? Then moving in together, their love for each other, the caravan, work, songs, the group of friends, the band, Elise singing, her talent?

6. Her pregnancy, Didier’s reaction, the disappointment, his returning, the decision to work on the house, the renovation, her asking for a veranda, his building a teranda, the glass, the reaction? The bird flying into the glass and the later reaction of Maybelle and Didier and his explanations about birds, the foolishness of crashing into glass, DNA and instinct? Maybelle and her grief?

7. The marriage ceremony, the humour? Didier’s mother and her support? The birth of Maybelle? Yet the later discovery that Didier had been drinking, briefly at the hospital, 10 days before we came back? The issue of whether he loved the baby or not? Once born, his love for Maybelle?

8. Maybelle, as a baby, the parents with her, her growing up, birthday, singing, the gifts of the boots, and happy life?

9. Maybelle and illness, going to the hospital, treatment by the doctors, the diagnosis, the different stages of treatment, her reaction, fear of the needles, the nursing care, happy and in hospital, her hair loss? Going home, the chemotherapy, the explanation of the blood and its going into the cells to help? The sadness of her death?

10. Maybelle at home, the bird the glass, sad, Didier and his arguing, her grief for the bird?

11. The funeral, the singing, the sadness?

12. After Maybelle’s death, Elise, withdrawing, and leeaving, not caring? Didier and his arguments, at home, his going out?

13. The issues, blame, and no cancer in her family, yet in Didier’s family?

14. The fast forward, the ambulance, Didier in the ambulance, the treatment for Elise?

15. Elise moving out, changing her name? Yet singing with the group? The pathos of the songs? Audience response?

16. Didier and his grief, the surprising outburst on the stage, the condemnation of Yahweh, issues of suffering, the cruelty of God and the effect on people? Elise walking off the stage?

17. Elise, the pills, her collapse, the ambulance, her death?

18. Didier speaking to her, his previous condemnation of her belief afterlife, that Maybelle was the star, or in a bird on the sill? His telling Elise to give his love to Maybelle?

19. The cumulative effect of such emotions and joy, sadness, anger?

BLADE II


US, 2002, 17 minutes, Colour.
Wesley Snipes, Chris Kristofferson, Norman Reedus, Leanor Varela, Thomas Kretschmer, Luke Goss.
Directed by Guillermo Del Toro.

The first Blade film was grim and gory, very gory. Blade comes from a netherworld of action comics (leading to violent computer games) where wrong is righted but in a larger than life and death manner and with no holds (or weapons) barred. Wesley Snipes was the half vampire who emerges from the night as a champion of the oppressed.

This is more or less what he does in this sequel. However, it is even grimmer and even gorier. The plot is pretty complicated with Blade trying to help his mentor (Kris Kristofferson) to recover from attacks by a new family of vampires (in Prague where the film was made) who prey on vampires. The plot then defies easy synopses as vampire lords combine their violent conquest with scientific investigations. By then, many will have wearied of the ugliness. Others who relish the horror, will be caught up in the swirling action and special effects as Wesley Snipes wants to prove once and for all that he is a top action star. The director is Guillermo del Toro whose films include the horror thriller Mimic and the fascinating dramas with touches of horror, Cronos and the excellent, The Devil's Backbone. Oh well. Ugly.


1. The impact and popularity of the initial film? A sequel and then a further sequel?

2. The work of the writer, his expertise in horror films? The work at the director? Of Blade, of Hellboy, of Pacific Rim?

3. The Prague setting, the beauty and the ugliness, the streets, the underpasses, the nightclubs? The headquarters for vampires? For the hunters? The scientific laboratories and their extent? Musical score?

4. Audience familiarity with Blade, half human, half vampire, able to walk in the light? His mission to exterminate vampires? The various battle scenes and the eliminations, the vampires going up in flames? His personality, single-minded, martial arts skills? His long friendship with Whistler?

5. Whistler, in captivity, vampirised, the rescue, the elaborate battles? His coming back to the laboratory? Scud and his wary comments to Blade? Whistler going back to work? Blade and his being wary, keeping friends close, enemies closer? Whistler and his personality, the back story from the first film?

6. The mutant in the streets, the drug dealer trying to interest him, the mutant turning on him and taking the blood? His travelling through Prague night, the clubs, seeking victims? The elimination of vampires? The revelation about his story, his father, leader of the vampire group, sending out into the world as an experiment, abandoning him?

7. The presentation of vampires, in Prague in the eastern European tones, at the clubs, their modern style and music and dancing, yet hidden from the world?

8. Blade being taken underground, the leader of the vampires, the discussions, the deal, the invitation to Blade to join the vampire team to eliminate the vampires in newtons? The irony of the vampire group in training two years, to pursue and capture Blade? Whistler and Scud being part of the team? Lisa and her attraction to Blade, his later rescuing her and saving her life?

9. The search, going through the streets, to the places where vampires lived? The elaborate battles?

10. Lisa, her being wounded, discovering the truth about her father, his covers words to her, signs being most important? Her being saved by Blade?

11. Blade and his understanding that there was information from inside? Betrayal? Scud and his speech, his being revealed as the traitor? His despising Blade? His death?

12. The group of hunters? The various personalities, ethnic backgrounds? The role of the lawyer and his dealings with the leader, confrontations with Blade?

13. Reinhardt, his being part of the group, the explosive device put on his head, continual confrontations with Blade, despising him, the final confrontation, the fight and his death? Split asunder?

14. Blade, the capture, Whistler being captured, the lawyer, the planned to get Blade’s blood, on the surgery table, the spikes through his feet? Whistler coming to save him?

15. The build-up to the final fight, the leader and his treachery, setting things in motion? His son coming to him, he is trying to persuade his son of the truth, his death?

16. Lisa, her not wanting to die inside, going with Blade to the roof, the sun rising and her death?

17. A mix of popular ingredients for action and horror fans?

THE PURGE

US, 2013, 85 minutes, Colour.
Ethan Hawke, Lena Headey, Max Burkholder, Rhys Wakefield, Adelaide Kane, Edwin Hodge, Chris Mulkey, Tony Oller.
Directed by James Di Monico.

The Purge is an above average thriller. It is set in a not-too-distant future, where there is a new government, new Founding Fathers, who in order to control crime allow for an annual Purge Night, where any citizen feels free to attack, to kill, anybody that they like. Targets are usually street people who are considered as human refuse, or other people who are targeted because of jealousy and envy. The permission and lawlessness last from 7 PM to 7 AM.

Ethan Hawke portrays a man who was invented a superior security system and who is benefiting financially, much to the annoyance of his affluent neighbours. He is married to being Lena Headey, who lives at home looking after the two children, one a young inventive boy and the other a teenage girl who is rebelling against her parents and allowing a boyfriend into the house. We have glimpses of them with their neighbours.

And then it is time for Purge Night, the family locking themselves into their house with their superior system. The daughter finds that her boyfriend is in the house and, taking advantage of Purge Night, he attempts to kill her father but his shot himself. The young boy, who has invented a robot that he can control mechanically, which has a camera, hears a man crying out in the street and opens security and allows him in. This leads to a group of young adults besieging the house to get the man, infiltrating and attacking the family. There is a great deal of tension in the sequences as the family try to survive, have crisis of conscience about whether they should send the man back out, are involved in killing themselves. The leader of the group is played with most sinister charm by Australian Rhys Wakefield.

Finally, a group of neighbours come in, motivated by envy and try to kill the family. It is the man from the street who actually saves them.

The screenplay left itself open for a sequel – which duly came.


1. The popularity of the film in the United States? Audiences identifying it, both right-wing and left-wing? Might is right versus bleeding hearts? A reflection of American gun laws?

2. The title, the knowledge of the Purge, the New Founding Fathers and their decrees, morality, purging aggression, purging lower socio-economic people, purging the objects of hate in envy?

3. A futuristic film? Much the same as the present? The changes in American society, morality, the end versus the means? Homes, security systems? The small focus on one family?

4. The family, ordinary, the good and the bad? Jim and his work, security systems, sales, the area buying his systems? His wealth, bonus? The affluence, the house and extensions, thinking of buying a boat? The American dream? Mary and her work at home, cooking, talking with the neighbours, exercising? Zoe, her age, deceiving her parents, Henry and his visits? Charlie and his age, the robot? The meal, Zoe only walking out? The review of the day?

5. The security room, the cameras and screens, tonight, Zoe going to her room, the others watching the screens? Issues of security, the family’s own security?

6. The discussion about whether Jim and Mary would participate in the purge? Would defend against intruders?

7. Charlie, watching, seeing the man in difficulty, opening the security, his sliding in under the door, hiding within the house?

8. Jim and his reaction, Mary, the discussions about defence? What to do with the man in the house?

9. The vigilante group, the leader and his polite manner, his message, the deal, masks, the others, young men and women? The arguments, bringing the heavy machinery, opening the doors and windows, entering, chasing the family around the house, stalking, deaths?

10. The man, hiding, Charlie and the robot with the lights, helping him hide? Jim finding him, his holding the gun to Zoe? Her collapse? The decision, binding him, the man’s plea? Mary, her change of heart, the attitude of the children?

11. Henry, sneaking into the house, with Zoe, purge night and his threatening Jim with the gun, his being shot? The effect on the family?

12. Jim, the guns, the pursuit, his being attacked, stabbed? The death of the leader?

13. Mary, killing, to protect the children?

14. The man, breaking free, saving the family, shooting?

15. Seeing the neighbours, the previous conversations with them, friendliness, about wealth, walking the dog…? There having Purge Parties, entering the house, the hostility, the envy, willing to kill the neighbours, Mary and her pleas? The man coming in, saving them – and his leaving the house?

16. Sitting at the table, Mary and control, the neighbours, the woman and her vicious envy? 7 o’clock and the end of the purge? The neighbours going home?

17. The effect of the experience, surviving, whether Jim would survive his wounds? The possibilities of a sequel?

WRONG TURN AT TAHOE

US, 2010, 90 minutes, Colour.
Cuba Gooding Jr, Miguel Ferrer, Harvey Keitel, Michael Tighe, Johnny Messner, Louis Mandylor, Mike Starr.
Directed by Franck Khalfoun

Wrong Turn at Tahoe is a grim film about gangsters, opening with Cuba Gooding Jr as a hitman, wounded, driving in a car with his boss, Miguel Ferrer. The film then goes back to the career of the hitmen, their work for the gangster, information given by a drug addict, which leads to a confrontation with a rival gangster, played by Harvey Keitel.

While there is some humanity in the film, it is also played for violence, a film for DVD release.

1. Crime drama, familiar ingredients? Straight to DVD release?

2. The atmosphere, the drug lord and his henchmen, bars, drug dealing centres, addicts, the contrast with the wealthy homes of the drug lords? Sense of realism? Musical score?

3. The title, ambiguity of the title, the reference to Tahoe? The information about him, his death? The wrong turn for Joshua?

4. The framework of the film: the car, Vincent driving, Joshua wounded, going to the hospital, reminiscing? The end of the film, Joshua and his memories of Vincent rescuing him when he was a boy, yet shooting Vincent? What future – or not?

5. The flashbacks: Joshua as a hitman, with Mike, doing Vincent’s will? The memories of Vincent saving him, his motivation? Going to see Jeff? The information about Frankie Tahoe? Reliable or not? Going to see Vincent in the night? With Mickey, taking off the shoes, Vincent’s hostility? His wife coming downstairs? The irony of Vincent knowing that Mickey had a relationship with his wife? Their going to visit Jeff, his plausible explanations? Their going to see Frankie Tahoe, his defiance, bashing him with the bat, Vincent and his rages? Going to see his assistant and getting explanations? Going to the dump, the liaison for burying the dead, dumping the body, Vincent and his accusing Mickey, killing Mickey?

6. Vincent, his character, drug lord, his dealings, his mansion, his wife and his love for her yet his obsession? The contrast with Joshua? Not having any fixed roots?

7. The thugs and summoning them to visit Nino? Waiting outside the house and their being sprung? Nino, his personality, girlfriends, lifestyle, influence? The discussion about Frankie Tahoe? That he was one of Nino’s men? The loss of income?

8. Vincent, coming home, finding his wife dead and tortured? Grief and anger?

9. The decision to attack Nino, getting into the house, shooting down his security guards? Joshua’s fight with Stephen? The confrontation, Nino and Vincent, Nino’s death?

10. The visit to Jeff, Vincent confronting him, past friendship, Jeff lying, the $3000, his death?

11. Inviting the audience into the seedy and violent world of criminals and drug lords?

BEING FLYNN


US, 2012, 102 minutes, Colour.
Robert De Niro, Paul Dano, Julia, Julianne Moore, Olivia Thirlby, Wes Studi, Lili Taylor, Victor Rasuk.
Directed by Paul Weitz.

Being Flynn did not light up the box office, but it is as an interesting film, with contrasting performances by Robert De Niro as a father and Paul Dano as his son. The film is based on fact, based on a book by the son, Nicholas Flynn, Another Bullshit Night in Suck City.

The relationship between father and son is very tense, the father having walked out on the family and served a jail sentence for fraud when the son was just a boy. He grows up in the custody of his mother, played by Julianne Moore in flashbacks, who killed herself, the boy blaming himself because she had just read part of a story which reflected badly on her – but his father saying that people did not kill themselves just because they read something.

The father lives in his own world, imagining himself to be a most successful writer, a masterpiece which he carries around with him, glorying in some comments that an editor made, but not achieving anything, driving a taxi, having an accident and having to move into a residence for street people. His son has moved in to an apartment with a group, has taken up cocaine snorting, but is influenced to work in a shelter, the shelter where his father comes, causing him a lot of complications.

The interest of the film is in the dramatising in each of the characters, the dialogue in their interactions, and the gradual buildup to some kind of reconciliation, especially after the son has a book of poems published, and his father happy in his son’s success.

Surprisingly, the film is directed by poor lights Paul Weitz, director of a wide range of films from American Pie to About a Boy, to The Golden Compass.

1. The title? The original title of the book: Another Bullshit Night in Suck City? The different tones?

2. The American city, ordinary, apartments, the poorer areas, the streets and shelters? The musical score?

3. The title, the reference to Nicholas, the reference to Jack? The father’s concern? Compare and contrast? The influence of the father on his son? The son effecting the father? Absence and presence? Hostility and reconciliation?

4. The two narratives voice-overs? The information about the family, each confiding in the audience? Each asking for sympathy and understanding?

5. Nicholas, his age, the absent father, the father in prison, financial fraud? Nicholas and relationship with his mother, love her, the strong bonds? The collage of baseball throwing, the various men in his mother’s life? His blaming Jack and his lack of responsibility? Jack’s praise of his wife? The relationship with his father, awkward, the breakup of the relationship, his surprise? Having to leave his apartment? The interview with the renters? Being accepted? The drinks, meeting of Denise, talk about her job, his applying? The interview with Captain, his telling Nicholas his own story? The sexual relationship with Denise, their friendship? His writing?

6. Jack, Robert De Niro, age, imprisonment, absent for 18 years, memories of his wife and praise of her, her suicide? His talking about his writing the manuscript, the masterpiece, Charlie Cobb? His vanity, his pride in the good quotes from the publishers? Driving a taxi, scaring his passengers? Finance, the apartment, his drinking, the crash? Leaving his apartment? His phoning Nicholas, the request, the removal of the goods from the unit?

7. Jack on the streets, sleeping in his car, park benches, drinking, eventually going to the shelter?

8. Nicholas at the shelter, his work, relationships, Joy, with supervising him? Relationship with the other workers? Writing up their reports? His reading his report, very literary? The months passing? His sense of doing something?

9. Jack’s arrival, causing trouble, problems for Nicholas, his deciding to stay at work, Jack’s behaviour and his response?

10. Jack, loud, in the dormitory, shower block, time spent there, his bad behaviour, arguing with Nicholas, Nicholas and his apartment friends, drugs, his addiction? The women supporting Jack? Jack calling him a father-murderer?

11. Jack and Nicholas, talking about the manuscript, that his mother read it and it was incomplete, the part about his love not yet written, his mother’s suicide? Jack telling Nicholas not to blame himself because of his story of reading? Killing herself? That there was more to her suffering?

12. Jack in the streets, together with the others, his abuse, the old lady explaining the situation to Nicholas in the cafe? Nicholas inviting Jack to his apartment, the effect, Jack leaving?

13. Jack, get his own apartment, settling down, his books, Nicholas and the visit, giving him the manuscript to read, Nicholas realising it started well but petered out? His own book problems?

14. Nicholas and drugs? Denise breaking up because of her addict brother? His going to AA?

15. The reading, Nicholas getting some satisfaction in writing? Jack’s arrival, comment, pride in his, inheriting his father’s talents?

16. The final voice-over, Nicholas as his father’s biographer?

THE TALL MAN

US/Canada France, 2012, 106 minutes, Colour.
Jessica Biel, Jodelle Ferland, Stephen Mc Hattie, William Davis, Samantha Ferris.
Directed by Pascal Laugier.

The Tall Man is an atmospheric film, made in Canada but set in Washington State, USA. It is set in a remote town where the mind has closed down and the community is in a state of decay. The main plot concerns the disappearance of children, and a legend which has grown up that they were taken by The Tall Man.

The local police investigate as do police coming in from Seattle, trying to find any of the bodies of the children have disappeared. Central to the action is the local nurse, played by Jessica Biel, widow of the doctor husband. She helps the locals, acting as a midwife, kindly to everyone. When her son is abducted and she pursues the Tall Man – at the plot becomes complicated with the young woman who can’t talk but wants to meet the Tall Man and a distraught mother whose son has been taken.

There is a most unexpected twist towards the end of the film, which leaves the viewers quite uneasy at the solution of the mystery.

1. The title? The myth, people repeating it, describing it? In the psyche of the community, of individuals? The reality?

2. The tension in the drama, the voice-over by Jenny (who had practically no voice in real life), her wanting to see the Tall Man? The repetition of the myths? The visuals of the children in the community, normal behaviour, the disappearances? Julia, her life, her doctor husband, doing good, nursing, in the town, her kindness?

3. The setting in the State of Washington, Canadian locations? The town, the forest? The interiors, the diner, home, the cave, prison? The musical score?

4. The tone of the drama, the horror touches? The unexpected twist and realisation of what had happened and why?

5. Cold Town, its look, the police emerging from the cave in the search? Julia and the removal of glass from her face? The flashbacks in this context, coming back to this sequence with a different perspective?

6. Going back 36 hours? Julia’s story, and the twist? The shifts in audience sympathy?

7. The story of the abductions, the children and their vanishing, the police and the search of the cave, not finding any traces?

8. Julia, the three young girls wanting help, the pregnant girl, the birth of the child? Tracy and her antagonism towards Julia, yet liking her? Tracy and Jenny? Jenny and her inability to speak, writing notes, communicating with Julia? Tracy and her partner, his brutality, hostility? Julia and her rounds? The reaction to the grief of the people? The encounter with the police, the people in the diner, her offering the coffee to the bereaved mother? At home, Christina as the nanny, little boy, the games, meals, happiness? And the irony that he had been an abducted?

9. The scene of the abduction, the Tall Man, the radio and its religious urging to conversion, Christine and her being tied up and tortured? Julia waking, seeing that the boy had gone, chasing the van, catching it, on the back, stopping, going under it? Reaching out to the boy? The confrontation with the Tall Man? On the road, her injuries, the police and coming past, getting help? Going into the diner, the woman being kind, helping her wash, fresh clothes? But the reaction of the townspeople, the discussions, blaming Julia, her being a target, her escaping, hiding in the old warehouse? The mother, the truth about the abduction, her taking the child back?

10. Julia’s house, the search, going through the back to the caves? Julia’s arrest? The story of her husband and his being a doctor, doing good? Julia confessing to the abductions, her rationalisation, helping the community after it had lost the mine and was in community depression?

11. The prison, the mother coming to see her, the discussions, the truth?

12. Jenny, at home, escaping into the woods, being taken? The voice-over and the description of her three mothers, birth mother, Julia and kindness, the adoptive mother? Jenny in the city, opportunities, the dilemma of whether to go back or take the opportunities? Seeing the little boy in the street with his adoptive mother?

13. The abductions, giving the babies and children to parents, the money, the deals, whether Julia knew about the details or not? Or thinking that the children had been killed? There being no traces of graves?

14. Audience response to the situation, especially to the plight of the children, abduction, the grief of the parents, their searching? And the mystery of Julia and her motivations and behaviour?

A CASTLE IN ITALY

France, 2013, minutes, Colour.
Valeria Tedeschi Bruni, Louis Garrell, Filippo Timi, Marisa Tedeschi Bruni, Xavier Beauvois, Ande Wilms, Silvio Orlando.

Directed by Valeria Tedeschi Bruni.

Castle in Italy is a French drama, very French, with touches of the Italian. It was written and directed by actress Valeria Tedeschi Bruni. Much of the plot is drawn from the actress’ own life, her own mother portraying her mother in this film, her relationship with an actor, Louis Gaerrell in real life as well is here on the screen, her brother who died of AIDS.

The film will probably appeal to those who like French drama. However, here the characters are rather unlikeable, given the erratic moods of the heroine herself. She portrays Louise - she has been an actress but not performing for 10 years, taking time off for herself. As the film opens, she is participating in the chant of a group of monks, shades of Of Gods and Men, whose director, Xavier Beauvois, acts in this film, portraying a friend of the family, fallen on hard times and begging for money, disrupting a funeral at the end of the film.

Louise, hurrying to the railway station meets the actor wandering in the woods after take in a film directed by his father. They exchange phone numbers and when the actress returns to the city, they begin an affair. It is complicated by the age of Louise who is desperate to have a child and undergoes some IVF treatments, the actor, to his distaste, persuaded to provide sperm. There is a bizarre, very Italianate scene, when Louise goes to a convent to sit on a special chair of a nun venerated there but jealously guarded by an extremely severe nun who interrogates people about their faith and their mass-going. Louise desperately breaks through to sit on the chair before being evicted. There is also a desperate scene in the clinic where an indifferent nurse does not listen to Louise’s anxiety about a wrong tag on her arm. She does become pregnant and is very happy until a miscarriage and the breakdown of the relationship.

And the Castle of the title? It belongs to the family and there is need to sell the Castle for financial reasons or, to lease it to the locals, where the Mayor wants it to become something of a resort for visitors. Mother and daughter agree to the selling of their prized Breughel painting, which upsets the brother who is against any sale.

With the personal ups and downs of the characters, there is often change of moods, especially when the brother dies and during his funeral and in the subsequent gathering of people at the Castle where an old tree that has died is dug out and a new tree, quite huge, is planted in its place – symbol of the change from the old to the new and the future?

The film seems to be a collection of episodes about the characters rather than a well-thought-out screenplay and personal drama.


1. A French entertainment? Exploration of characters?

2. The director, her career, as actress, as director, writer? The autobiographical background and variations on her life? Her own acting career, direction? Louis Garell and his relationship with her in real life, the break? Her mother performing as her mother? The story of her brother, illness, AIDS, and the death of her brother from the illness in real life?

3. The title, the castle, how important, the heritage of the family, changes, the need for tourism, the need to sell, the interiors, the grounds? The importance of the Breughel painting? To sell it or not?

4. Louise, her character, acting in the past, the 10 years, having the means to try to live her life? The opening with the monks, the chant, the monk persuading her to buy rosary, his urging her to kneel on the ground and prostrate for recollection and prayer? Her hurrying through the woods, the encounter with Nathan, his knowing her, the attraction, exchanging cards? Her going home? The effect of her brother’s illness, Jeanne and her support of her brother? The discussions in the castle and the mayor’s plans?

5. Louise and Nathan, the meeting, the apologies, her going to his apartment, their being together? His reaction? Attraction to Louise? The visit to his mother? His father directing him in the movie scene and his immediate reaction? Going into the woods? Going to see his father and discussing his relationship? The issue of Louise’s pregnancy, IVF, his not liking it, his embarrassment in going to the clinic, providing the sperm? The bizarre, very Italianate scene, where Louise goes to a convent to sit on a special chair of nun venerated but jealously guarded by an extremely severe nun who interrogates people about their faith and their mass-going. Louise desperately breaks through to sit on the chair before being evicted?The reactions with Louise, not going to her brother’s wedding, the break?

6. Louise, her desire to be pregnant? Her biological clock ticking? Going to the clinic, the IVF treatment, the wrong label on her arm, her panic, the phlegmatic reaction of the nurse, the doctor, the impregnation? Her pregnancy? The blood, the miscarriage?

7. Serge, his place in the family’s life, working with Louise’s mother, the music? His drinking, down and out, going to the brother to get money, the refusal? The mother giving him €300 and his disdain? Talking with Louise? The break in the relationship? His turning up for the funeral, in the gallery, his loud outburst in speech, about death and suffering, critical?

8. Louise’s brother, the relationship with Jeanne, but wanting to sell the Castle? the marriage ceremony, Nathan not coming? His continuing illness, going to the hospital, Louise and her panic, the heat, trying to buy the fan, clamouring on the door of the shop, coming back and finding him dead?

9. Louise and her mother going to London, the auction – and the presence of Omar Shariff and their reminiscences, especially about Dr Zhivago. The auctioning of the Breughel painting, the bids, finished – but Louise calling out against it?

10. The funeral, the background of the family, the Jewish ancestry, the marriage to a Catholic, the Catholic heritage? Important for the mother, the chapel in the castle, the statue of Mary, covering it and then changing her mind?

11. Louise, concerned about her pregnancy, going to the convent, the Italian nuns, their severity, asking for declarations of faith, about Sunday Mass-going, about mortal sin, and Louise rushing in, pushing the crowds aside, sitting on the seat before being ejected? Her own faith and spirituality, semi-lapsed, devotional with the touch of superstition?

12. The significance of the tree? Cutting down the old, the delivery of the new? People gathered to celebrate?

13. Louise and her future? Age, back in Paris? Relationships?

14. The film as a succession of events rather than a cause and effect story?

BOOK OF SHADOWS: BLAIR WITCH 2.

Once again, rather than a recommendation, some background on a film which is part of a movie phenomenon and which has caused a great deal of controversial discussion. It is the Blair Witch Project phenomenon.

This time last year, movie buffs were on tenterhooks looking forward to a $30,000 film which had already made over $100,000,000 in the US alone, The Blair Witch Project. One of the factors that amazed the film industry as well as commentators on popular culture was that, instead of the usual modes of advertising (papers, TV and radio), the word of mouth had spread because of the film's Internet website. It had tantalised with mysterious suggestions about the occult, it had encouraged chat room discussions which set up a mighty expectation for the film. The repercussions for the industry are enormous. All production companies now have their websites whose addresses appear on the opening company logo of the movie. Major films have their own particular websites.

It is a challenge to the parent and grandparent generations. Just as a generation that was raised on reading found it very difficult to come to terms with television. Now the television generation often baulks at using or acknowledging the widespread use of the Internet. (Channel 4 usefully helps the TV generation by showing on-screen a number of website pages about their film before it starts.)

The first Blair Witch Project film either enthused those who got caught up in its energy or drove beserk those who found its continued use of always-jerky hand-held camera upsetting or disconcerting. Of course, this was part of the promotion of the film. It was claimed to be the video footage of three students making a documentary about the legend of a witch and murders in remote Marylands woods. They film each other, shout and screech in fear and in anger at one another (which was also very wearing). The point was that the makers were trying to make their fictitious set-up as realistic and credible as possible. And a lot of people actually believed it was all true.

And, now the sequel. Blair Witch has become an enormous franchise. The second film is more bearable than the first - but probably less bearable, the older the audience! This one is for the fans.

It opens promisingly with a parody of a documentary about the reaction to the release of The Blair Witch Project, quotes from actual TV reviews and alleged interviews with the upset citizens of Burketsville, the centre of the search for the Blair Witch.

Then it becomes something of a re-run. This time it is a group of young adults, two of whom are writing a book about the phenomenon, "Hysteria or History". Out in the woods, strange things happen. They lose several hours of consciousness and try to reconstruct it by looking at video footage. What they see on the tapes, what they imagine and what they fear cause mayhem and killing. Is it the Witch or is it the result of hysteria caused by the phenomenon? The makers leave that decision up to the audience.

This is a more polished production visually but the protagonists still screech and swear at each other and, once more, the plot relies on audiences having faith in video and that video is actuality and tells the truth. It also reinforces an extraordinarily naive belief in witches, spells and occult mayhem. No wonder the commentators on pop culture are having a field day with the Blair Witch films.

ME, MYSELF AND IRENE

US, 2000, 116 minutes, Colour.
Jim Carrey, Renée Zellweger, Chris Cooper, Robert Forster, Richard Jenkins, Anthony Anderson.
Directed by Peter Farrelly, Bobby Farrelly.

Audiences in the US have already paid over 90 million dollars to see this comedy. On the other hand, some associations concerned with schizophrenia have lobbied reviewers to condemn it. Because it features Jim Carrey in one of his best performances (combining mugging slapstick and his more serious acting skills, it will draw the crowds everywhere).

Choosing the Film of the Week is not necessarily to recommend it. Rather, as with this film, it gives the opportunity for thinking about some of the difficulties that contemporary films raise.

It should be said first that this is a film written and directed by the Farrelly Brothers. They are definitely of the broad humour school that anyone with fastidious taste should avoid whether the film is good or not. They are the principal exponents of the comedy of human beings being physical creatures and remind us of it with jokes (and often crass situations) about our most rudimentary, and sometimes rude, bodily functions. Their best known films (and box-office sucesses) are Dumb and Dumber with Jim Carrey and There's Something about Mary. This film is certainly no exception.

This is much more a matter of taste rather than morals. And one of the dangers in assessing the whole film is to be so focused on some crass sequence that we have found offensive that we miss the overall sense of the film.

Where Me, Myself and Irene has provoked controversy is in the area of mental illness. It raises the legitimacy of a subject like schizophrenia for humour. Theoretically, any human experience can be the subject of humour, otherwise we are putting it on some kind of unreal plane above reality. The question is always in the 'how' the humour is presented.

The Farrelly Brothers keep their audience on edge. The film opens with a situation that defies credibility: Jim Carrey's ultra-nice Charlie, a Rhode Island policeman is challenged by an African- American vertically-challenged Mensa scholar and Charlie loses his wife but gains three very large black sons. The audience is sympathetic to issues that are called 'politically correct' but then are moved to laugh at the absurdities to which this could be taken.

And so it goes throughout the film, especially when Charlie is taken over by a personality from within, Hank, his shadow side who is full of rage and has been suppressed over the years. Carrey is very good at moving from Hank to Charlie and back again. And the issue of suppressed anger causing emotional
splits is a very valid one. Farcical comedy is one way of bringing this to the attention of the very wide popular audience.

The film is also a chase comedy with crooked police pursuing Charlie and the witness he is protecting (another genial performance from Renee Zellwegger).

The result is a strange, even unsettling, experience where one is 'grossed out' by some of the physicality, laughing at some funny sequences and still wondering what we really think about the deeper mental illness problems. It is one of those,
'despite myself, I enjoyed a lot of it' films.

1. The impact of the film in its time? As a Jim Carrey comedy? As a police and crime story? As farce? Slapstick, comedy?

2. The Farrelly brothers and their films, taking on offbeat themes, running the risk of offence? Schizophrenia, the acceptance, the interpretation, the manifestations, the different personalities, behaviour and effects? The reasons for Charlie’s schizophrenia? A nice man, suppressed anger? Interpreting everything well and covering over unpleasantness? Bursting out, his shadow, demanding, exploitative? The scenes of the two fighting each other and Jim Carrey’s comic style?

3. The title, Charlie and Hank, the response to Irene?

4. The narrative, the narrator and his tone, giving the facts, funny and ironic? Touch of the deadpan?

5. Jim Carrey’s Charlie? Providence, Rhode Island? Growing up, his reputation, the wedding, his home, the dwarf and his attack, again are Farrelly theme with the character of the dwarf? His skill and Mensa, the wife? Her pregnancy, the triplets, their being black, people’s reaction, Charlie’s reaction? Her leaving with the dwarf? Charlie as the dad, the three boys, the socials and neighbours as they grew up, the picnics, school, watching the television in the different styles, the changing, Charlie accepting them? Joining in with them?

6. The three boys, as kids, clever, Mensa, their size, arguments, coarse language, discussions? Support of Charley? Affection for him? With the police, following Charlie, the helicopter, their help? Comic characters?

7. The colonel and the local police, Charlie and his work, their concern about his outburst, Charlie and his meekness when others broke the law, the man parked for three days, the sportsmen and the confrontation, the contrast when Hank went into action? Charlie given the job of escorting Irene, the search for him and the crooks?

8. Irene, her background, her story and Hank summarising it, her denial, yet later admitting it? Coming to New York, knowing nothing about greenkeeping, her contract, her liaison with the criminal, thinking she had the information? Her wanting to hide, the trip with Charlie, Hank bursting out, the contrast between the nice and the lewd, the sexual night? The details of the trip, the comedy with the shooting of the cow so many times – and the final credit showing it survived?

9. Hank, his character, behaviour, crass, lewd, ugly? A Jim Carrey speciality? Charlie trying to deal with Hank, and suffering the physical injuries because of Hank?

10. The encounter with Whitey, the Farrelly theme of albinos and their being insulted by crass types, Whitey his personality, serving the meal, Irene’s apology, his decision to travel with the two of them, supplying the finance, his story about the murder of his family and deceiving Charlie, his collaboration in the fight with the crooks, sympathetic character?

11. The police, the agents, in cahoots with the criminal, their pursuit of Irene, the shooting at the police station? The chase, the confrontation – and the slapstick comedy as well as the shootings?

12. Charlie and his trying to save Irene, on the bridge, the water? The dangers and yet the slapstick comedy? The boys and the helicopter rescue?

13. Irene saying farewell, being held up on the highway – and Charlie proposing?

14. How well did the film blend its comic ingredients, serious sub-plot, comic exploration of mental illness?

KEEP YOUR POWDER DRY

US, 1945, 93 minutes, Black and white.
Lana Turner, Laraine day, Susan Peters, Agnes Morehead, Natalie Schaefer, Lee Patrick, Bill Johnson, Henry O’ Neil, June Lockhart.
Directed by Edward Buzzell.


Keep Your Powder Dry was released just before the end of World War II. It was another of MGM’s contributions to the war effort, especially focused on women and the role of the WACs.

The plot is familiar enough, a kind of female version of Soldiers Three. Lana Turner has the opportunity to be glamorous, indolent, unaware of the war effort, choosing a career to make a good impression on board members to give her her inherited money. But she also has the opportunity to look very smart in uniform and to show how anyone can absorb the military culture, benefit by it, change character. By way of contrast, Laraine Day is the daughter of a military officer, brought up on military bases, knowing all the rules and regulations, but imposing her commanding personality on everybody else, whether they liked it or not. The third member of the group is Susan Peters, a far more sympathetic character, married to a soldier and, in a surprise and very sad ending, learning of his death in action. There is some humour and repartee offered by Lee Patrick as a showgirl turned WAC, turned Cook. The men are not really important to the whole proceedings.

The film was directed by Edward Buzzell, a director of comedies including the Marx Brothers in Go West and At the Circus.


1. MGM production and its style, cast, its participating in the war effort? The portrait of the WACs, patriotism? A wake-up call to the complacent to help with the war?

2. The film coming at the end of the war, the war in Europe, the war in the Pacific – and Annie’s husband, serving, letters and recordings, love, the telegram and the pathos of his death?

3. Black-and-white photography, fashionable apartments, the WAC stations, dormitories, offices? The details of life on the base? Musical score?

4. The focus on Valerie, wealth, not accessible, her wanting it, her idle lifestyle, sleeping until 2 o’clock, the visit of the solicitor, the issue of the money, the lease in Palm Beach, Harriet’s advice, the suggestion that she joined the WACs and how this would please the administrators?

5. Valerie, Lana Turner style, in herself, going to join up, the encounter with Leigh, with Annie?

6. Leigh, style, military brat, the visit to her father, joining up, her controlling, knowing all the facts and figures in the regulations, the confrontation with Val and the instant dislike, Annie as a mediator, Leigh throwing her weight around, the dislike of the other women?

7. Annie, with her husband, his going to the war, the farewell, her more gentle nature, writing the letters, the recordings, with Leigh and Val, sharing their experiences, lacking self-confidence, succeeding in going to the officers’ course, mediating between the other two? Interview with the commander, the telegram, her grief, immediately being accosted by Leigh, her being asked to mediate, agreeing, listening to the two, walking out on them, the others discovering the telegram and their sympathy for her? Her life and its effect on them?

8. The details of the course, the dormitory, meals, drills, classes, graduating? going to the officers’ course, each changing their option but yet finishing together? Val and the rules, circumventing them, Leigh and her strictness? With the men?

9. Harriet and Junior and the uncle, their flippant life, Junior and his drinking, Val telling him off, his throwing the hat out the window? Leigh asking them to be quiet? Junior meeting her again, telling the story about Val, the money, yet Val deciding to stay in the corp, her asking Leigh to help her, taking her place? Then turning on her?

10. The interviews about graduating? Val and her commanding the platoon, Leigh riding her hard, the harsh report? Val not denying anything, resigning? Leigh and her interview, the commander telling her that half the corp did not think she was officer material? The effect? Taking Annie, going to apologise?

11. The recruitment story, life in the corp, the comic touches, especially with Gladys, her performances, repartee, and the serious detail? With the underlying plot of the rivalry between the two women?