PARER’S WAR

Australia, 2014, 97 minutes, Colour.
Matthew le Nevez, Adelaide Clemens, Leon Ford, Alexander England, Rob Carlton, Nicholas Bell.
Directed by Alister Grierson.

Parer’s War is a portrait of the war activity years of celebrated cinematographer, Damien Parer. Parer had worked in the Middle East and North Africa in the early years of World War II, and was recalled back to Australia to work in the Pacific. His first assignments were in Papua New Guinea, following the Australian troops at Kokoda and along the track, filming them in action, filming the jungle where the Japanese concealed themselves, filming the locals, the Fuzzy Wuzzy angels, carrying the wounded to safety.

This material was brought to Sydney and edited in the Cinesound Studios, under the direction of Ken G. Hall, celebrated director of many feature films during the 1930s. Parer himself was invited to speak straight to camera explaining the situation to the Australian audiences. He returned to Papua New Guinea, had difficulties with a broken camera, but brought back more material which was incorporated into a documentary, Kokoda Frontline, which won an Academy Award in 1943.

The film also shows his friendship with broadcaster, Chester Wilmot, the photographer Max Dupain, poet Kenneth Slessor, as well as his cautious relationship with Marie who ultimately, taking charge of his making decisions, became his wife. Parer was killed in action on the island of Palau.
Matthew le Nevez is a convincing Parer. Alexander England is Chester Wilmot and Leon Ford is his friend, Ron. Adelaide Clemens plays Marie. Nicolas Bell is the head of the propaganda office, antagonistic towards Parer. Rob Carlton is Hall. The film was directed by Alister Grierson who also directed the film about the Australian troops in public New Guinea, Kokoda.

A fuller portrait of Damien Parer was made for the bicentenary year, 1988, Fragments of War: the Damien Parer Story, by John Duigan.

1. Damien Parer and his reputation, achievement, photography, war propaganda? His Oscar?

2. Audience knowledge of Parer? This film as informative? A tribute?

3. The title, the focus on war, presupposing his activity in North Africa, the concentration on his work in the Pacific?

4. The locations, Papua New Guinea, the Kokoda track, the mountains, water, jungle vegetation? The transition to the Pacific and to Palau?

5. Incorporating the vintage footage? The modern versions of the original footage? Kokoda Frontline? The screenings? The re-creation of Parer’s talking to the audience?

6. Damien Parer as a person, his age, his photography, his work in the war, North Africa, Papua New Guinea, the impositions of the Department, the clashes with the authorities? Eccentric, moods? The range of experience? The friendship with Chester Wilmot? With Ron? With Max Dupain? His friendship with Marie, the ups and downs of the relationship, friendship, talking, clashing, awkwardness? His gawky manner? The distance from Marie? The time away from her?

7. Seeing Parer at work in Papua New Guinea, the atmosphere, Kokoda, the Australian troops, the Japanese and their concealment, in action, strategy and tactics, deaths and the wounded, the Papua New Guinean carriers? His being able to move in and out, trying to help the wounded? His films?

8. The picture of the men in New Guinea, the squads, working together, the missions and dangers?

9. Damien in Australia, with his film, Ken Hall and his reputation, his films, newsreels? Watching in the theaterette? The editing? Introducing other
material? Damien and his speaking to camera? The many takes? His watching, embarrassment, leaving the theatre, the success, people talking congratulating him? Marie seeing it? The aftermath, the parties?

10. Damien and his friendships, Chester Wilmot and his radio work, serious? Ron, the personal touch, with Marie? Max Dupain and his photos?

11. Going back to New Guinea, continuing with the filming, the breaking of the camera, the fixing it? Bringing home the material? Further editing? Kokoda Frontline? The Oscar? The superior in the Department, mean-minded, treatment of Damien, his comments about the Oscar?

12. Marie, seeing her, the dancing, Ron and his urging Marie to take charge, Damien’s response?

13. Damien religious dimensions of his life, his Catholicism, saying his prayers in the tent, the church, the discussions with the priest, the wedding ceremony?

14. The happy honeymoon, Marie and her pregnancy?

15. Damien, being employed by the Americans, the Australian reaction? In Micronesia, Palau? His death?

16. The historical background, the Australian war effort, the Australian command, the role of General Mac Arthur, Australia and the war effort? As background to this portrait of Parer?

JOE MADDISON’S WAR

UK, 2010, 95 minutes, Colour.
Kevin Whateley, Robson Green, Melanie Hill, Angela Lonsdale, Trevor Fox, John Woodvine.
Directed by Patrick Collerton.

Job Maddison’s War was written by celebrated writer, Alan Plater, one of his last works before his death.

The setting is Tyneside during World War II, a focus on the ordinary people, the men who worked on the docks, their being part of the Home Guard, their day-to-day lives. In this respect, the film creates quite an atmosphere of the period, the sets and decor of the place, costumes and the attention to detail to make the setting convincing.

Kevin Whateley, so well known as Inspector Lewis from his own series as well as for his work in the Inspector Morse series, plays Joe Madison, who had fought in World War I, had returned home proud but somewhat disillusioned, who is too old to serve in World War II but is prepared to join the Home Guard, even to taking some leadership in the local force. However, there are personal complications as his wife leaves him and he cannot understand this.

Job Madison is a decent man, surprised at his wife’s behaviour because she was a Catholic, getting some advice from the local Catholic priest (something unusual for a British film). He is seen often in the company of his best friends, arry who is ready to subvert authority, and Eddie, a dyed-in-the-wool Communist. He also encounters a friendly woman, Selina, serving the troops in the canteen and begins a relationship with her, his daughter not happy, his son who is serving in the war, supportive of his father. The local pharmacist is the officer in charge of the Home Guard, played by Derek Jacobi.

At the end, Joe will say that the war years were the best of his life, upsetting him at first, helping to understand people better, finally with the love for Selena.

And offbeat look at England during World War II.

1. British memories? War movies and heroism, the films of the 50s? An ordinary man’s war, war involvement, war effort? The background of the humour of Dad’s Army and the veterans?

2. Newcastle, Tyneside, the city, the docks, homes, clubs, pubs? The surrounding countryside? The sets, the decor, the feel of the time? The greyness? The surprising scenes of sunshine? The musical score? Songs of the time?

3. The atmosphere of 1940, work on the docks, ordinary men, the class distinctions, social status, Joe and his wife? At the wedding, his behaviour? At home, said, Polly and her interactions with him, reserve, leaving? Joe’s bewilderment, wanting to know the reasons? The children growing up? Their attitudes? The effect on Joe, not understanding, his beliefs, principles?

4. The Catholic issues, Polly as a Catholic, the wedding, advice of the priest, his stances, talking with Joe, the indissolubility of marriage? Joe and his decisions? The issue of reconciliation and the priest urging it? The priest present at Joe’s wedding? Polly, her life, her decisions, attitudes towards sin?

5. Joe, his pals, Harry and his humour, cynical, Eddie’s Marxism? The pubs, the drinks, the talk, the women?

6. The outbreak of war, the German bombings? Calling up of the guard, the officer from the pharmacy shop, his assistant and the regulations? Joe and his friends joining? The effect, seeing them on duty, the training, the defence, guns, the shooting of the plane and their rejoicing, the effect on Joe? The music and Harry’s decisions, his being dismissed?

7. The reaction of the men, going on strike, the officer’s reaction?

8. Joe and his son, talking, his son going to war, Joe’s memories of World War I and the experience? His daughter, husband, the husband going to war? The effect on him, the return? His supporting Joe?

9. The local officer, strict rules, command, training, effect, the confrontation with Harry, with Joe?

10. Meeting Selina, the canteen worker, becoming friends, the reticence, going out, the romance? The story, her husband, Dunkirk, the developing relationship? His children and their reaction?

11. The surprise of his wife coming back after the years, her relationship with the sailor, her child? Wanting to re-unite? Joe and his hesitation? The scenes on the beach? Walking, the child? The advice of his children, his daughter against Selina?

12. Selina, character, life, enjoying life, dancing, dancing with Joe, transforming him?

13. The experience of war, guns, the duty, the celebration and bringing down the plane, not happy?

14. Harry, Eddie, the experience of war?

15. The bomb, the street, the child, Joe and his saving the child, the bomb squad to dispose of the bombl, his heroism? After the demotion, his medal?

16. Joe and Selina getting married, the family there, the priest, friends, the rejoicing?

17. Joe saying that his war experiences were some of the best of his life?

THE TENTH CIRCLE

Canada, 2008, 100 minutes, Colour.
Kelly Preston, Ron Eldard, Britt Robertson, Jamie Johnston.
Directed by Peter Markle.

This is a telemovie which would be interesting for parents and teenage girls, especially, to see and to discuss. It is filled with a message and a warning.

Britt Robertson features as a 15-year-old girl, a good reputation, infatuated with one of the jocks at school, confiding in her friend. The friend wants Trixie to branch out, taking to a party where there is alcohol as well as date rape drugs. She wants to make the jock jealous because he has broken off with her and seems to go along with his sexual advances. The story then cuts to the aftermath and her claiming she was raped, going to the police, medically and psychologically examined in some detail, her father trying to support her.

As the story progresses, it appears that Trixie is not as innocent as she claimed and tells some lies. The boy proclaims his innocence. it is suggested that there was a date rape drug which has affected Trixie’s memory.

Her father, Ron Eldard, a designer of graphic comics, supports her. Her mother, Kelly Preston, was absent on the night because she was in an affair with one of her students. As the investigation continues, the officer in charge (his own child had overdosed) and other officers and lawyers examine the case thoroughly.

After a fight in the street with Trixie’s father, Jason falls into the river and dies, the father taking the blame, thinking his daughter had struggled with Jason – but it is with Trixie’s mother that the clash occurred and the death.

Issues of teenage sexuality, drinking and drug taking and promiscuity are examined in this made-for-television movie.

1. The impact of the film as a telemovie? Characters, themes, issues of rape, reality, the law?

2. The American homes, school, the streets, police headquarters? The opening with the river, the bridge over the river, the tragic events there? Musical score?

3. Laura, her lectures on The Divine Comedy, the various circles in Hell? Who were the inhabitants of the tenth Circle? The device of having the students pose in freeze, the two minutes, the nature of eternity?

4. The presentation of the family, the father as the artist of graphic novels, working at home, his staying at home when his daughter was young? Laura, her lectures, relationship with the students? The revelation of the affair? Trixie, aged 15, seemingly young and innocent? Life at home, communication, meals?

5. Trixie at school, the relationship with Jason, his breaking with her in the corridor, the other girl? Trixie, her grief, her girlfriend and advice? The humiliation? Later going out, to the party, her friends urging her on, provocation, wanting to make Jason jealous, the drinking, drugs, the date rape drug, Trixie’s memory, going upstairs with Jason, his advances? Not seeing the full episode until the end?

6. The effect, Trixie going home, telling her father, unable to contact Laura? The father and his reaction going to the police?

7. The detailed interrogation by the police, the intimate details, Trixie’s embarrassment shame, her father listening? The details of the medical examination? Trixie agreeing, scream and fear? Samples, examination, evaluation? Laura and her arriving, her embarrassment? Trixie back at home, her father’s care for her, her asking her mother where she was?

8. Trixie going back to school, the treatment, the students laughing at her, the class about dreams, asking her questions? Jason and his attitude? The circulating of the images on the students’ phones?

9. The police, the head doing his work, his daughter dying of an overdose? His discussions with the lawyers, fellow police? The lies? Trixie and her credibility or not?

10. Further complexities of Trixie’s personality, age, telling the truth about and lying?

11. Jason, his friends, his declarations of the truth, memories of the evening, confronting Trixie? The father seeing him in the street, the fight, Jason going to the bridge? His death? The father going to the police, taking the blame, thinking Trixie had pushed Jason?

12. The police, the investigation, the blood on the bridge, the blood tests and sampling?

13. The father, the discovery of his killing someone in the past, his explanations? The audience thinking that he would get a prison?

14. Laura, going to the police, her finding Jason, the struggle, his death? The flashbacks?

15. The complexity of the ending? The blame on Jason? The blame for Trixie?

16. The film as a salutary tale?

KANSAS CITY CONFIDENTIAL

US, 1953, 102 minutes, Colour.
John Payne, Preston Foster, Colleen Gray, Jack Elam, Lee van Cleef, Neville Brand.
Directed by Phil Karlson.

Kansas City Confidential is considered something of a classic amongst the crime films of the 1950s. Phil Karlson has a strong record of films in this vein, especially 99 River Street at the same time.

The opening indicates that this is a crime that has been concealed in files because it concerned the police.

Preston Foster appears at a window, noting movements at a bank, as well as a delivery truck for flowers. He then interviews, with a mask, three criminals whom he employs for a bank robbery, targeting the driver of the van as the fall guy. He is played by John Payne, star of 99 River Street. After he is released, he gets information and follows the trail of the robbers to Mexico, encountering each of them. Assuming the identity of one of them when he is killed at an airport.

The plot is complicated because the audience knows that the retired police chief, played by Preston Foster, is in fact the mastermind. Character actors of the period, Neville Brand, Jack Elam, and Lee van Cleef played the criminals. There is a romantic complication with Colleen Gray as the policeman’s daughter who is attracted by Payne.

There is a tense set up at the end, with the police chief collaborating with an active policeman, giving him the signal that three criminals were together and then claiming the reward for the restitution of the money from the robbery. Needless to say, the criminals don’t survive and there is a happy ending, a bit too pat, for the couple.

1. The classic status of this film? The work of the director? Police and heist genre the 1950s?

2. Kansas City, the bank, the streets, the police? Mexico, the towns, bars and hotels? Tourists? The sea, fishing…? The studio sets? The musical score?

3. The introduction, the written information, the crime? The confidentiality of the file? Foster and his checking the bank, the fan, the security, the money, the time? His interviews, wearing a mask, knowing the three criminals, the background, able to persuade them, control them?

4. The heist itself, the two florist trucks? Joe and his work, the arrest, the interrogation? His record? A tough man, the tough police and the interrogation? His being free, the newspaper headlines? Going to his friend, having saved his life on Iwo Jima, the help?

5. Joe, in himself, the decision to solve the crime, going to Mexico? The leads? Meeting Harris, the interactions, Harris and his fear, the information? The airport, Harris being killed, the police? Joe assuming his identity?

6. Going to the hotel, Helen and her company? The flirtatious woman at the desk, souvenirs? Her contact with Romano? Joe confronting him, the broken card, the gambling? Kane, their behaviour, ganging up on Joe, he is overcoming them, explaining the situation to them?

7. Foster, contacting the police? His plan, framing the three men, Helen and her reopening his case? With the cash in the boat and the van? Gathering the three, for the police to arrest them, for him to get the reward? Joe’s harm as collateral damage?

8. Foster, his relationship with his daughter, her studying law, coming to visit him, his warning her against Joe? Helen the attraction? Talking with Joe, the dinner, the swim, finding his gun?

9. Foster, his plan, the letters to the three, their meeting in the morning, offering them a lift, the boat, the signal to the police? Joe and Romano, talking, shooting Kane? The two, their struggle, Foster coming on board, shooting Romano, Foster being shot? Joe realising the truth?

10. Foster, getting Joe to promise not to tell Helen? His death? The insurance man? The reward, happiness the Joe and Helen? Perhaps too happy an ending? Too pat?

JESSE STONE: INNOCENTS LOST

US, 2012, 95 minutes, Colour.
Tom Selleck, Kathy Baker, Kohl Suddoth, Stephen Mc Hattie, Saul Rubinek, William Sadler, William Devane, Gloria Reuben, Mark Blum.
Directed by Dick Lowry.

The Jesse Stone film versions of Robert Parker’s novels proved very popular. This is the eighth in the series. There is a continuity from one of the films to another in the life of Jesse Stone as well as the associates of the police chief in the town of Paradise as well as other characters like the gangster who owns a gym in Boston, Gino Fish (William Sadler), the Boston chief of police (Stephen McHattie) and characters like the used car salesman in paradise, Saul Rubineck, and a nun who looks after girls in trouble – Sister John, one of the most glamorous nuns to be seen on screen.

By this stage, Jesse Stone has been relieved of his job as chief in Paradise and the son-in-law of one of the councillors has taken his place – and much of it is made of his unsuitability. The mystery concerns a friend of Jesse, a young woman who was found dead on the road. This leads back to Boston, with tipoffs from Gino Fish, to visits to a rehabilitation centre which sends out clients dependent on drugs, as well as having dubious members of staff. Jesse eventually confronts one of the latter, a drug dealer who forces girls into prostitution, the fate of his former friend and he blames himself for not supporting and losing touch with her.

Once again, William Devane portrays the ex-police psychiatrist that Jesse consults about his problems.

There is plenty of scope for further episodes.

1. The Jesse Stone series? Entertainment? Interest? The continuity of the stories? Characters?

2. The town of Paradise, the police work, the car dealership, Jesse’s home? The locations, the beach, the roads? The contrast with Boston, police headquarters, the gym of Gino Fish, the institutions, catholic, private, restaurants…? The feel of the places? The musical score?

3. The title, the young girl, her family, education, Jesse as a mentor, studies, drugs, moving to prostitution?

4. The continuing portrait of Jesse, in himself, age, with his dog, the tensions with the dog? His house, a refuge? Little phone contact? Two drinks at night? Contact with his ex-wife? His visits to his shrink, the background of the doctor, the police work, his insights for Jesse? At the precinct, Suit, friendship, trust, work? Rose, the bond with her, her work at the office, being asked to do receptionist work, continuing because of the need for salary? Casual sexual relationships?

5. The new chief, interviewing the previous film, his arrogance, relationship to the council, his treatment of Jesse, Suit, taking of his office, of Rose?

6. Hasty, his past, car dealership, Jesse borrowing the car from him?

7. Recurring characters: the Boston police chief, the relationship with Jesse, their work together, authorising him for his investigations? Sister John, the work of the girls, and nun in civilian clothes? The touch of glamour? Jesse and his meal with her? Gino Fish and his gym, his contacts and information?

8. The case, the dead girl, suicide, her past, Jesse failing to follow-up contact with her, her decision to come back to Paradise? Jesse meeting her mother,
her mother’s tough stances? Jesse and his decision to investigate? Authorised by the Chief? The University, getting the information, the rehabilitation centre, the deals, connections, keeping clients drugged? The Paradise connection?

9. Jesse, finding Valeri, confronting him, the violence? In the hotel, Jesse rescuing the girl and sending her home? The visit to Gino Fish, the contact, the mutual respect – even dislike? Fish giving the information? The Valeri and coming to Paradise, the confrontation, the attempt to kill Jesse, Jesse killing him?

10. The pathos of the funeral?

GABRIELLE

Canada, 2013, 104 minutes, Colour.
Gabrielle Marion- Rivard, Alexandre Landry, Melissa Desormeaux -Poulin.
Directed by Louise Archimbault.

Canada’s official entry for the Oscar for Best Film in a Foreign Language.

Gabrielle is a vivacious young woman. We initially seeing her and a choir – but there is something different about the choir, some of the members have Down Syndrome, and others have difficulty in attentiveness. The choirmaster, a dedicated young man, has difficulties in co-ordinating their efforts.

This is a choir that belongs to a residence for mentally-impaired adults. And Gabrielle is one of these. It is intriguing to discover that the actress portraying Gabrielle, Gabrielle Marion- Rivard, herself has mental difficulties.

The film offers an opportunity for the group at the centre and in the choir to be affirmed in performance, in their characters and in interactions during the film. It is also an opportunity for Gabrielle Marion- Rivard to give a striking performance, credible, sympathetic, at times exasperating, and a chance for audiences to look and listen as well as appreciate and understand.

Gabrielle is 22, has a busy mother who is involved with a Symphony Orchestra but is cared for by her older sister, Sophie, a kind and understanding woman who nevertheless has a life of her own, especially with a partner who is working in India with a children’s choir – and whom we see via their Skype communications. Gabrielle is not able to manage by herself but feels a great need for some kind of independence, a chance to have a place of her own so that she can be herself and cope.

A significant part of the film involves this quest by Gabrielle, staying with her sister, looking out the window at people getting into the bus, coming downstairs and imitating them, trying to find her way to a pet shop where Martin, with whom she has fallen in love, works part-time. But he is not there and in her attempts to get home becomes quite bewildered and lost. It is particularly dangerous for Gabrielle because she is diabetic.

The other major theme of the film is about relationships, love, and possibilities of sexuality and partnerships for those at the centre. Martin is a pleasant young man, a soloist in the choir, attracted to Gabrielle. They are caught several times together and Martin’s mother is very upset and withdraws Martin from the centre. This has repercussions for the choir rehearsals because the group is training to perform publicly during a music festival in Montréal.

The film is matter-of-fact about the sexuality issues, the members on the staff of the centre being very direct in language and questions of Gabrielle and Martin. As it raises questions for Martin’s mother, it also raises questions for the audience, the nature of the relationship, the possibilities for the future, issues of pregnancy and parenthood. But the film does not want to solve these problems, rather, it shows a temporary encounter and leaves the rest to the audience as the concert is in progress and both Gabrielle and Martin happily sing.

Non-Canadian? audiences will not be familiar with the real-life singer, Robert Charlebois, who agrees to sing with the choir, some of his own songs (which have some eyebrow-raising lyrics), comes to their rehearsals and happily performs with them as the culmination of the film.

There is great humanity in this film, not shirking the difficulties, especially for Gabrielle having to say goodbye to her sister as she goes overseas, indicating how difficult it is for Gabrielle to live by herself, having some accidents as she attempts cooking, with the realisation that there must be some supervision, but in the most affirming and supportive way possible.

1. Canadian Oscar nominee for Best Foreign Language Film?

2. The Canadian settings, Montréal story? From the Québec region? Universal?

3. The city of Montréal, the Residence, the interiors, atmosphere? Apartments, streets, shops, socials and orchestras? The concert, the outdoor venue, the activity, performance? The feel of the city?

4. Robert Charlebois, his songs, performance, melodies and lyrics? Popular in Montréal? The decision for the choir to sing these songs? The rehearsals, the solos, the final performance and acclaim?

5. The title, the focus on Gaby, the mentally-handicapped actress and her performance? The other residents and their handicaps, performances? The actors amongst the actual characters? The carers, parents, family?

6. The issues of handicaps, how well handled in the film? Sympathy, empathy, no condescension? The presentation of handicaps, intelligence, emotional, physical, experiences, the need for development, issues of autonomy, desires and possibilities, their being tested? Achievement and failure, the
consequences? Issues of sexuality, urges and libido, the regulations for the residents, the opinions of the family, parents, possibilities?

7. Gaby, her age, in the residence, managing, her room? The background of her parents, her father being pitch perfect? The mother and her work with the Symphony? Love for Sophie, devotion to her? Love and care? Scene at the pool, the rehearsals, her personality, bright cheerful? Collecting the paper in the office and work her work of shredding it? Liking Martin, the effect on her emotionally, her needs? Laurent and his care? The other members of the staff? Remi and his skill in conducting the choir and dealing with each of the singers? Gaby and Martin, the kiss, their being caught? Their meeting together, in the room, the discussions, the issue of the tattoos, Martin’s mother and her reaction? Taking Martin away from the residence? Gaby and her pining? With Sophie, on the back of her bike? At the apartment, wanting autonomy, buying the milk and bread and the Hindi greetings to the shop owner? The toaster, the disaster, her withdrawing, smashing the glass of milk? Sophie coping? Gaby knowing the Sophie wanted to go to India, overhearing the Skype conversation? Going to the social, her mother, the violin players? The group visiting the pet shop? Her later watching people at the bus stop, going on the bus, asking directions, going to the shop, Martin not there? Walking alone, lost? Continually checking her diabetes, the danger when she was lost? Saying she was sorry to Sophie? Sophie arranging the phone call to Martin, his agreeing to be her boyfriend? The emotional farewell to Sophie, scream, acceptance? The concert, meeting Martin, their getting of dogs, going under the stage, the sexual encounter, the effect on each of them? Last seen singing in the concert?

8. The discussions about abilities, handicaps, Martin’s mother being protective? Sophie and her love? The discussions about sexual behaviour, the role of the carers, the rules, offering lessons, issues of condoms? The frank language of the carers to both Martin and Gaby about sexual behaviour, touching the penis…?

9. Martin, his singing, attraction to Gaby, the kiss, the issue with the kiss and tatoos, his mother’s protectiveness, taken away, the new course, cabinet-making, the preparation of the gift the Gaby, and including the map? At rehearsals, his solos? The phone call and his joy? Meeting Gaby at the concert, hot dogs, the sexual encounter and its effect on him? Singing? The future?

10. The various residents, Michael old, the men singers, the girls, the Down Syndrome girls, the black man…?

11. Remi, his personality, the rehearsals, his care for the group?

12. Laurent, his work, his care, his attentiveness, the touch of his own personal life, the constant attention, respecting each?

13. Sophie, her character, relationship with her mother, at the social, eating lunch and telling the truth to her mother? The Skype calls from India, her boyfriend? The children singing and greeting? The decision to go, dealing with Gaby and her feelings? The phone call to Martin?

14. The mother, her relationship with John, her work, the Symphony, the socials? Talking with Sophie? The search for Martin and Gaby before the concert? With Martin’s mother?

15. Robert Charlebois, the celebrity, coming to the rehearsals, his genial treatment of everyone, introductions, and the performance?

16. The film inviting the audience to share experience of handicapped people, appreciate them, understand them and the situations, the needs, sexual
relationships? Audiences responding with both mind and heart? The continuing issues of growing older, development or not, autonomy and supervision?

THE MIGHTY DUCKS

US, 1991, 100 minutes, Colour.
Emelio Estevez, Joss Ackland, Lane Smith, Heidi Kling, Joshua Jackson, Elden Henson, Josef Sommer.
Directed by Stephen Herek.

The Mighty Ducks had great success at the box office, appealing to a family audience, especially an American family audience with its focus on ice hockey. It is one of those films, reminiscent of the Bad News Bears series, about sports underdogs who bond with their coach and make good.

Audiences also enjoy sports films. For ice hockey fans, there will be great entertainment value – but for those not familiar with the game, they will have difficulties with the rules, let alone seeing the puck being hit and sliding across the ice because it is so fast.

Emelio Estevez is the lawyer who was something of a champion when he was young but fell foul of the coach, Lane Smith, and has shunned hockey ever since he missed the goal in the championship match. He is now a smooth talking lawyer who, drinking and reacting to the police, finds himself temporarily out of his job and asked to coach the Ducks.

There is the usual ragbag of unlikely hockey players. The leader, sympathetic, is Charlie, played by a young Joshua Jackson before Dawson’s Creek. There is also the champion hitter, Fulton, played by Elden Henson. In the background is Josef Sommer as the head of the legal firm, Joss Ackland as the sympathetic Hans – who is also in the two sequels. And there is more than a touch of romance with Heidi Kling as Casey, Charlie’s mother.

The film is quite predictable, and that is what audiences want in this case. It is directed by Stephen Herek his credits include, in the 90s, The Three Musketeers as well as Mr Hollands Opus.

1. The popularity of this film in the 90s? Sport? Underdog team? Team spirit, triumph? Honesty and sport? The sequels?

2. The city, the world of the law and courts, of law firms and offices, of hockey teams, stadiums and dressing rooms? Ordinary apartments? The musical score?

3. The title, the nickname of the team, the emblems, jerseys, mockery of the ducks and cracking? The relationship of the team to the name of the manager of the Law firm, Ducksworth?

4. Gordon, the prologue, as a boy, Coach Reilly and urging him on, his mistake and failure? Leaving the sport?

5. Gordon, in the court, smart work, the prosecutor, the judge and his being caught on his judgements? Smooth talking? With the head of the firm? Out on the town, drinking, driving, the police, the many charges? In court, the judge the prosecutor and the touch of revenge? Community service? The head of the firm and his conditions?

6. Gordon, his comfortable life, his not liking kids? Going to meet the boys, the girl in the team? Their reactions? His doing the coaching, the clash with Charlie and his mother? Urging them to cheat? His apology, Charlie, to Casey?

7. The various games, the boys overhearing him talk about losers, their wrong interpretation, the reaction, walking out?

8. The issue of the boy in the Hawks, the boundary lines, Gordon and his legal attitude? The father, the coach, the boss and the discussions, Gordon standing his ground?

9. The discussions with Coach Reilly, memories of the past, the rivalry, the coach’s determination to win?

10. The issue Adam Banks, play with the Hawks, not welcome in the Ducks team, eventual acceptance, his injury in the final match, their concern?

11. The other members of the team, the girl, Gordon and his finding Fulton, Fulton’s skill in striking, part of the team, loyal to Gordon?

12. The training, Fulton learning to skate, the games, Fulton scoring?

13. The build-up to the final, audiences expecting the win, tension for the game, the various moves and manoeuvres, the girl pirouetting, the wing formation, Charlie and the final opportunity, the win?

14. Casey, concerned about her son, abrupt with Gordon, the apology, staying to dinner, Charlie and his affection, his mother’s warning Gordon, the happy ending and the prospects?

15. An entertaining sports film, children, underdogs, honesty in winning?

UNDER THE SKIN

UK, 2013, 107 minutes, Colour.
Scarlett Johansson.
Directed by Jonathan Glazer.

This is a film which is very interesting to think about and talk about after seeing it, perhaps more so than while watching it. It is an artfully made film, certainly designed for an outhouse audience rather than a popular audience who might be quickly bewildered by its style and themes.

The skin is that of Scarlett Johansson, once the child actor in films like The Horse Whisperer, moving to significant adult roles in Lost in Translation, more lately having a mixed career in The I am Man and The avengers films.

In 2013, she was a significant presence in Her, a character not seen on screen but only heard, the voice for a computerised robot, designed as a companion for a man who invested in this kind of technology. This time she is, initially, a strange woman who seems to assume the identity of another woman and then is seen driving a van through the streets of Glasgow. She keeps asking people the way, ordinary men in the street, some of whom respond, getting to get into the van, with lustful intentions which are then seen to be extraordinarily frustrated, becoming surreal as they work in as they walk into a viscous pool and are destroyed. No explanations given. The audience is left to wonder about the relationships between men and women, about seduction, about willingness to be seduced, about lost and sexuality, about the destructive woman.

While this seems eerie and sometimes unreal, there are many scenes of life in Glasgow, contemporary, shops and supermarkets, and discussion about the 2014 referendum for Scottish independence.

There is an interlude at a beach, where Scarlett Johansson sees a couple in difficulties in the water, and attempted rescue and failure, and the discussion with a man from the Czech Republic – man who seems ordinary and sincere, but doomed in his encounter. Another interlude involves her asking directions from a man with a disfigured head and face, reminiscent of the elephant man. She interrogates him about his life, loneliness, sexual desires, sympathetically seducing him, but with different results.

We are still wondering who this woman is. there is also a mysterious rider on a motorbike who seems to be controlling her. the drama moves on a little when she goes on a bus into the Scottish countryside, which are sympathetic man who takes her in, takes her shopping, has a more restrained sexual encounter with her. In the woods, she encounters a range who seem sympathetic at first but their encounter has dire consequences.

When it is revealed what is under the skin, it is an alien woman, visually renders reminiscent of mystique in the X-men series.

At the film is based on a novel by which, according to readers, has the elements of the film takes many of them in a different direction, social commentary about life and work in Scotland. Under the Skin, however, just focuses on the woman, her predatory and destructive behaviour, and leaves audiences to ponder all of this, male and female stereotypes and transcending them, and what is, ultimately, alien behaviour.

1. Critics’ admiration? Accessibility to audiences?

2. The work of the director, in film, visual arts, photography and composition?

3. Science fiction, the basis in a novel, adaptation?

4. The visual style, Scotland, the city of Glasgow, the ordinary streets, ordinary citizens, markets, shops, bars? The countryside?

5. The opening, the focus on the dot of light, the images of the eye? Darkness and light? Silhouettes, the alien taking the clothes from the human? The close-ups? Action sequences? The contrast with the normal, and contemporary references, TV programs, Scottish independence? And the eerie? The image of water, the lake, the sea, rain? The liquid lake for the human disappearances? the underwater sequences? The effects for the photography?

6. The credits, the alien coming to earth, taking the human form, the dead woman, the human clothes? The identity under the clothes, under the skin? The mystery of the cyclist? The orders for the alien to act? The van and her driving it? Her behaviour, sleeping or not, eating or not, the revulsion at the cake in the diner? Her asking the directions, seductive manner? British accent? The men’s response, the sexual response, their behaviour? Taking them, their going into the liquid, sucked dry of humanity? The alien and her sense of mission? The different men, the man with the disfigured head, the ranger and the attempted rape? Her exhaustion, the gasoline, the fire, destruction?

7. Scarlett Johansson in this role, her appearance, behaviour, driving the van, seemingly ordinary, asking the way, ordinary conversation, watching the people of Glasgow going about their ordinary life? Picking the men, asking the way, the responses, inviting them in? The two men whom she destroyed? The man with the disfigured head? Enticing him, asking about his sexual responses, his friends? Seen naked, sexual encounter? Not destroying him? Going to the beach, meeting the man from the Czech Republic, the discussions? The couple on the beach and the baby? The person in difficulty, going to the rescue? Dragging the corpse from the water? Leaving the baby crying? In the countryside, travelling on the bus, people helping her, going to the supermarket, a place to stay? The kindly man? His sexual encounter? In the countryside, the views, the ranger, the discussions with him? The attempted rape, his leading, his destroying the alien?

8. The portrait of the men, ordinary citizens, naked, last, deaths, destroyed?

9. The long sequences, silence, time for the audience to contemplate? The juxtaposition of the ordinary with the eerie? The overall effect of the film?

10. Themes, aliens, male and female, sexuality, lust, enticement and seduction, destruction?

THE BABADOOK

Australia, 2013, 92 minutes, Colour.
Essie Davis, Noah Wiseman, Daniel Henshall, Benjamin Winspear.
Directed by Jennifer Kent.

The first question is probably who is or what is The Babadook.

It turns out to be the character, charcoal black, in a book called Mister Babadook, the choice of the little boy in this film for some bedtime reading. He is six years old, has a propensity for monsters, a fascination and yet fear, checking in his cupboards before he goes to sleep as to whether any monsters are in his room.

His same Sam, played with extraordinary precocity and intensity by Noah Wiseman. He tells us that his father was killed in a car accident while taking his mother to the hospital for his birth, a sad thing that his birthday coincides with the death day of his father. His mother, Amelia, manages with him, loving him but finding him exasperating. She has a job in a hospital and relies on her sister, Clare, who has a daughter, Ruby, to mind Sam when things are difficult. Amelia is played by Essie Davis who gives an expert and powerful performance, ranging from normal to haunted and terrified.

Thus far, a different but ordinary life in suburban Adelaide.

Then comes the moment when Sam wants his mother to read Mister Babadook to him. This leads to some fears for the Sam, who becomes preoccupied with him, even setting up clothes and hat on the wall that look like him. The story also has quite an effect on his mother.

Amelia, in fact, is quite worn out and susceptible to fear. And the presence of the Babadook preys on her. The question is raised as to what is happening to her. Is anything happening in reality or is Amelia experiencing hallucinations, wild imagination, even projecting her fears on to her son onto others. The audience watches her collapse with apprehension, wondering what is really happening, listening to her change of voice, listening to her changes in personality, concerned about what is happening to Sam because of this behaviour.

So, it can be said, that The Babadook works well in the genre of hauntings and mental deterioration as well as a story of a child in some peril.

Jennifer Kent is a first time feature director and has done a very effective job of creating atmosphere as well as expert delineation of character. She doesn’t tie everything up clearly by the end, allowing an audience to wonder about what really happened and whether it really happened.

1. The reputation of the film? Performance? Scares and shocks?

2. How real? Dreams, imaginings, hauntings, poltergeist manifestations, hallucinations? What is real? Psychological states and manifestations?

3. The Adelaide settings, the street, the house, the interiors, the car, the school, the rooms, the basement?

4. The book, the manifestations, the growing intensity, the monstrous behaviour, voice, threats, combat? The effects?

5. How effective the gradual building up of tension, Amelia’s deterioration? Sam’s responds?

6. The opening, the dream, Amelia and Oscar in the car, going to the hospital, the accident and his death? Sam’s birthday?

7. Sam at six, precocious, his birthday being the day of his father’s death? His depending on his mother? Bedtimes stories, the big bad wolf? His choosing Mr Babadook? His searching in his room and cupboards for monsters? Talking about monsters? Building the weapons? Protecting his mother, wanting her to protect him? Destroying the monsters and the effect? With Amelia, with Clare, the playground sequence, with Ruby, her birthday party, the treehouse and his pushing her?

8. Amelia in herself, normal, but not coping well with her son, reading the stories, taking him to school, his behaviour at school and the authorities asking for him to be removed? Her work with the elderly people in the residence? Robbie, his friendship, coming to her house, the flowers and the gift? Mrs Roach, the sympathetic neighbour, friendly with Amelia? Amelia and Clare, her sister, their talking, the bond, the differences, the issue of the party, Ruby and Sam not celebrating on the same day, the party and the entertainment, Ruby pushed from the treehouse? Injuries? Amelia and her watching television, watching Mrs Roach and the television? The range of programs, becoming more horrific? Her driving, crashing the car and the driver’s response?

9. The effect, time passing, having the ice cream, Clare ringing, taking Sam to the doctor, the sedatives, the promise to go to the psychiatrist?

10. The pills, Sam reaction, sleeping? Amelia and her lack of sleep? The effect? The nightmares with the Babadook?

11. Deterioration, hallucinations, pills and sleeping to 11, Sam hungry, the meal and the glass in the food, pulling out a tooth?

12. The basement, Oscar’s things, the photos, Oscar appearing? Saying there are only 10 minutes left? The disturbances in the basement?

13. The Babadook book, text, illustrations, death, Amelia tearing it to pieces, burning it? At the door, the knocks on the door? Taking the book to the police, no evidence because she had burnt the book?

14. The night, the nightmares, the Babadook and appearances in the house, her killing it? Noises, knocks, fear, the search?

15. Babadook and his look, a projection of Amelia, Sam and his setting up the images on the wall? The change of character, Amelia swearing at her son, attacking, the knife, apology? In the basement, her tripping, the blood, the vomiting?

16. Sam and his change, fear, sleep, protection?

17. Amelia coming down, get the worms and taking them to the basement? The presence in the basement?

18. The social authorities in the visit, the return, Sam’s birthday and his speaking straightforwardly?

19. The birthday, and the film stopping? Things back to normal – or more splitting of personality and hauntings for the future?

KILLING SEASON

US, 2013, 91 minutes, Colour.
Robert De Niro, John Travolta, Milo Ventimiglia, Elizabeth Olsin.
Directed by Mark Steven Johnson.

Killing Season was not received favourably. Many viewers from the Balkans were not impressed, especially with the detail and how accurately expressed about the Serbian Army, the invasion of Bosnia, the presence of the Americans.

This is often an ugly film, a film about a vengeance, two men struggling with each other, alternating with being in control, trying to harm each other, often savagely.

The film was a star vehicle from Robert De Niro who is his usual self, reliable in his performance. The Serb is played by John Travolta, sporting a closely cropped head which seems to have been treated with boot polish and a Moslem-style moustache-less beard which commentators say would be unusual for somebody who is clearly Serbian Orthodox. Travolta also uses a broken English accent.

The film opens with some harsh sequences of the war in the Balkans in the 1990s, prisoners and a camp, the advance of the Americans, some atrocities of the Serbs. Then there is a scene of executions, with audiences realising that it was De Niro shooting Travolta.

18 years after the war, Travolta tracks down information about De Niro and his life in the United States, travels to his remote home, seemingly befriends him, goes hunting with him, spends a drinking evening with reminiscences. However, the next morning, they go literally hunting with arrows, Travolta wanting to force De Niro into confession of what he did, Travolta also confessing about his participation in the Scorpios, a torture group. In beautiful remote countryside, the two try to outdo each other, exercising cruelty – but with remarkable ability to recover.

Ultimately, the two do come to terms with what they have done, going back into their past, examining their lives, confessing what they have done – a confession, purging, gaining some kind of peace.

1. The impact of the film? Audiences being hostile? Critical of the presentation of the Serbs and the war in the Balkans? Audiences outside the US and the Balkans and their perceptions and memories?

2. The opening, the camp, the Americans advancing, the torture squads? The execution of the Scorpion group? The flashbacks to the sequences, specifically showing Ford and Kovac?

3. Kovac, 18 years later, getting the information in the bar? His going to the United States? The later explanation of his injuries, paralysed, regaining mobility, spending time in England driving a taxi? Yet all the time with his own sense of guilt? His desire to confront Ford?

4. Benjamin Ford, Robert De Niro character, isolated, a hunter, the impact of the war experiences, his wife leaving him, his son growing up, married, having the baby, the invitation to the baptism, the phone call, his not wanting to go? His injuries from the war, the shrapnel in the leg? His solitude, hunting, the difficulty in shooting the deer?

5. In the truck, breaking down, encountering Kovac, his bad temper, apologising to Kovac, Kovac fixing the truck? The storm, offering Kovac the lift, the meal, their talking amiably, the drinking after meal, memories of the past, stories?

6. The next morning, going hunting, the radio contact? The deer, Ford failing, Kovac firing the arrow? The continued pursuits, woundings, Ford and the arrow in his leg, the arrow extracted, the rope and his being hung up? Turning the tables, each of them gaining control, the visual aspects of the injuries, the torture?

7. Kovac wanting Ford to spill his guts, confession? Kovac wanting to tell his own story?

8. Ford and the joke about the confession, the priest and the local, the sexual sins, not telling the exploited woman the war was over? Giving a tone, the language and rituals and priestly as of confession, absolution?

9. The cat and mouse tactics, using stones, in the river, getting out before the cascades? Get the continued communication?

10. The arrival of the son and his wife, the baby, Kovac seeing the invitation to the baptism? Knowing the story? Aiming his arrow at them? Not shooting?

11. The ultimate sitting down together, talking, the effect of the atrocities, the need for purging, how successful?

12. Kovac returning to Serbia, some kind of ordinariness and peace?

13. Ford visiting his family?