CANOPY

Australia/Singapore, 2013, 84 minutes, Colour.
Khan Chittenden, Tzu-yi Mo.
Directed by Aaron Wilson.

Canopy, in the title, refers to the luxuriant jungle growth outside the city of Singapore. It becomes a protection for an Australian soldier, his parachute caught in a tree and having to cut himself down and make his way through the jungle to escape the Japanese.

The setting is 9th February, 1942, just two months after the bombing of Pearl Harbour. It is surprising to realise how swiftly the Japanese attacked so many of the countries of the Pacific, ranging from China to Australia in those early months of 1942. They took Singapore, occupied it, leading to Winston Churchill’s decision to draw a line at Singapore and not committing any forces to defend below that line. The film opens in darkness, with only sounds, of talking, music, then of explosions and the audience realising what has happened in Singapore.

The Australian soldier has to make choices of what he will carry on his trek through the jungle, relying on a compass. Japanese patrols pass close by him and he is successful in hiding. Then, suddenly, he bumps into another person and the two of them shape up to fight. However, the newcomer is able to explain that he is Chinese and the two bond together, no longer two men alone, lonely in the jungle, trying to survive.

There is pathos in the character of the Chinese, especially when he is wounded and the Australian has to sew his wound, causing great pain to the Chinese.

This is a different story about Singapore and its fall. There was larger scope in such films as A Town like Alice and Paradise Road. This scope is small, over a day or more, two men’s brief experience of war.

There are some moments of dreams, remembering home in Australia, nightmares of what had happened in the jungle, and a sad but hopeful final glimpse of the Australian soldier back home after the war.

Khan Chittenden portrays the soldier. This is Aaron Wilson’s first feature film – illustrating talent and craft, an appeal to an arthouse audience for atmosphere, but multiplex audiences will find it too slow moving for adrenaline tastes.

1. An Australian- Singapore production? Memories of World War II? The fall of Singapore, the experience of war, the Japanese invasion and occupation? Australian involvement? Chinese involvement?

2. The title, the jungle and its growth, covering, protection, assent to the sacred? The vivid visuals of the impact? Musical score?

3. The introduction, 9 February 1942? Black screen, music, voices, the attack, explosions?

4. The man hanging in the tree, his parachute caught, unconscious, awaking, hearing the sounds, cutting himself down, choosing what to save, assessing it, carrying it? The jungle terrain? The mud, the water, the creek, the trees, the opportunity to drink and wash?

5. His trek, hope, the destination, uncertain? With the compass? Hearing the Japanese advance? Hiding? Day and night passing?

6. Bumping into the Chinese, mutual fear, fists, the Chinese indicating who he was, the Australian becoming calm?

7. Company for each other, helping each other, not feeling alone? The Japanese patrols, their falling into the grass, hiding? Offering the chocolate to the Chinese?

8. The attack, the Chinese being wounded, the Australian sewing his wound, the pain, the blood, having to keep silence? Surviving?

9. Finding the dead Chinese, the soldier’s grief?

10. The Japanese, the patrols, on the bikes?

11. Hiding in the tree trunk, Jim dreaming about his wife, standing at the gate, the field? Dreaming of what he had experienced? The Chinese and his dreaming? His putting the hand over Jim’s mouth to silence him? Waking, looking at the Chinese – the close-up?

12. Being captured, the Chinese, his pain, the Japanese, the threat with the gun, his death? Jim and his being dragged on the back of the truck? The transition to the truck on the road in the country? Jim, older, standing with his back to the field, contemplating?

13. The experience of war, survival, friendship? The relevance of this kind of story today?

THE PEOPLE VS LARRY FLYNT

US, 1997, 129 minutes, Colour.
Woody Harrelson, Edward Norton, Courtney Love, Brett Harrelson, James Cromwell, Miles Chapin, Vincent Schiavelli, Crispin Glover.
Directed by Milos Forman.

A box-office and critical success with many Oscar nominations. Like Boogie Nights at this time, it probed the world of pornography while seeming to make heroes out of people like the hustling, for a time born-again Christian, Larry Flynt. What offended people was the poster (banned, for instance, in Belgium) which had Woody Harrelson as Flynt in a Stars and Stripes loincloth hanging on the cross like Jesus.

The point could be made that mavericks like Flynt were persecuted by self-righteous Christians with double standards, especially in the case of Charles Keating, denounced at the end of the film. This use of the iconography of the cross has been increasingly used by marginalised groups (for example, against capital punishment in Dead Man Walking, Last Dance or, more controversially, to highlight the oppression of homosexuals as in The Garden, The Long Day Closes).

Larry Flynt is hardly an American hero. A hillbilly boy from Kentucky, a young bootlegger, then owner of backwood's strip joints, he shot to fame, or notoriety, with the publication of Hustler magazine, an explicit sex magazine, that eventually led him to the courts of America, to the Supreme Court.

The film of his career and of his eccentric fights for freedom of speech and interpretations of the First Amendment has won awards and Oscar nominations for its star, Woody Harrelson, and its director, Milos Forman. It is a provocative film since it tackles the subject of the public and sexually explicit material and the role of the law in banning such material and in protecting freedoms. Forman has said he would never buy Hustler and was not drawn to make this film until he thought about his life in Communist Prague and the restrictions on freedom.

Perhaps this film works well as a comment on changing standards because it is well-written, directed and performed, but also because of the dilemmas that Forman found in supporting the rights of a person that he did not agree with.

What makes the film more provocative is that Flynt, who seems to have become more flamboyant over the years (and has millions of dollars to support his eccentricities), is his clash with Jerry Falwell and the Moral Majority. Flynt satirised him obscenely in an ad and Falwell sued. Flynt and his lawyers countersued for breach of copyright - Falwell had copied the ad to send to followers, but without permission.

The case, which finally went to the Supreme Court, raises issues about legislation in a pluralist society - whose standards are correct and whose standards should be imposed? Flynt said that he produced magazines which were in bad taste. The question rises whether governments can legislate for taste. Issues of hypocrisy in religious people are raised with memories of the scandals in the behaviour of many tele-evangelists and one of Falwell's supporters, Charles Keating, being responsible for one of the US's greatest loan disasters.

The film does not shirk the realities of Flynt's career (which will be distasteful to many audiences). In fact, Flynt refers to himself as a scumbag, pointing out that if the courts protect his freedoms, they will protect ordinary citizens.

The closing title information reminds us that, whatever the pros and cons of the case, both Flynt and Falwell are still doing what they did ten years ago. Provocative look at society's standards and rights.



1. A portrait of Larry Flynt? his life, as child, with his brother, as an adult, his attitudes, sex, pornography, morality? Difficulties, success? Dealing with authorities? His moods? In court? Present? His becoming a champion of free speech and the First Amendment? His injury, Ruth Carter Stapleton and her contact with him, baptism? The attack, his injuries, his loss of faith? The case against Jerry Falwell? In court, misbehaving? The Supreme Court? His keeping silent? The aftermath?

2. The work of the director, his background in Czechoslovakia, migrating to America, the very American tone and themes of his films? His interest in freedom of speech because of his Czech background? The strong cast?

3. The American midwest, producing moonshine, the two boys, getting into trouble? The transition to early adult would? The clubs, the sex, the strippers, the clients? The group of friends and the relationships with each other? The decision to send out the newsletter for the club? Hustler? Discussing the printing, the discussions about the photos, under the counter sales? The returns? The issues of money? Larry’s brother and his caution? Larry, the daring, the models, the graphic photos? His meeting Althea, her work in the club, stripping, talking up to Larry, the bond between them? Her wanting to marry him? The offices, his wealth, the photo of Jacqueline Onassis and the million sales? In court, judges’ reactions, the attempt on his life, the injury, in hospital, the years of pain, the operation and his overcoming the pain, the Supreme Court? Lying on his bed, happy with the result? The only regret in his life, the death of Althea?

4. The issues of the First Amendment, if the amendment could protect him, and he was the worst, then better for all? Issues of sex, nudity, censorship? People’s rights to buy this material? The religious reaction, Charles Keating and his supporting prosecution? The Georgia DA and the deal, Larry preferring to go to court? The case, the judge, the refusal to permit other similar magazines as evidence? The plea to the jury, Isaacman’s speech, his points, the guilty verdict, Larry to prison, his experience there, Althea visiting him? The appeal and his release? Going back to the magazine, the support of his friends? The attack, the years of his injury and pain? Wanting to go off the drugs, Althea and her staying on the drugs, her suicide in the bath, the effect on him? The issue of the advertisement and the attack on Jerry Falwell, issues of humour, public opinion, attitudes towards celebrities and satire? The interrogation about Jerry Falwell? Audience interests, sympathy, the differences between Liberal and British, responses to pornography, rights?

5. The change in Larry, young and confident, inexperienced, the experience of the printing, the newsletter, the refusals, the comparisons with Playboy, his critical attitude towards the articles, his wanting more photos, explicit? The coup of getting the photograph of Jacqueline Onassis? Exploiting it, the sales, becoming a tycoon, his wealth, Althea and her keeping the accounts? The injuries, the dinner with Ruth Carter Stapleton, Althea and her dislike, the discussions, the conversion, the immersion in baptism, coming back to the group, wanting not to exploit women, their reactions?

6. The role of the friends, their constancy with Larry, not always understanding, the caution of his brother, their interventions? Their having to take over when Larry was absent with the injury, his firing them by phone, their decision to stay on, his coming back to the office, the greetings, the continued support?

7. Althea, hiring Isaacman, his age, experience, discussions with Larry, going to court, Larry and his pranks and interruptions, lack of control? The years passing? Isaacman and his growing exasperation, getting Larry out of jail, offering to quit, Larry pleading, the hopeless situations? The final presence in court, the libel case against Jerry Falwell? The decision to go to the Supreme Court, issues of freedom of speech? His strong speech, the attentiveness of the judges, their questions, his answers? His phoning Larry with the result?

8. The role of Ruth Carter Stapleton, President Carter’s sister, her religious beliefs, inviting Larry to the meal, his caution, bewilderment, Althea and her behaviour, Ruth persuading him, converting him, his turning against religion?

9. Althea, her background, stripping, sex, posing, sharing with Larry, the marriage, keeping the accounts, the court and her behaviour, her antagonism towards Ruth Carter Stapleton? The drugs, getting worse, Larry challenging her, her dying? The final images of her in Larry’s imagination?

10. The judges, prejudiced against pornographers?

11. The public, following the cases, interest in Hustler and Playboy in the 70s and 80s, into the 90s?

12. The Falwell case, Jerry Falwell and his condemnations, his leadership of religious groups, the religious Right? Larry and the satiric advertisement? Falwell encouraged by Keating? Deciding to sue, Larry’s antics in the court, the judge and the attempts to question, Isaacman and his work? The guilty verdict?

13. The issue of the cassette with the bribes, the taking of the money, the arrest? The many times in court, the exasperation of the judge and Larry insulting him? Not revealing his sources?

14. The point made by Isaacman that people might not be in favour of Larry, his work, his lifestyle – but, as with many groups, supporting the issue of freedom of speech and the rights from the First Amendment?

HEAVEN

New Zealand, 1998, 106 minutes, Colour.
Martin Donovan, Danny Edwards, Richard Schiff, Joanna Going, Patrick Malahide, Karl Urban.
Directed by Scott Reynolds.

Heaven has been used in many films as the title by itself or as part of the title. The surprising use here is that it refers to a person, a singer and dancer in the New Zealand bar, a transvestite who wants to be a woman. Danny Edwards gives quite a convincing performance as Heaven.

The central character is an American, Robert, Martin Donovan, separated from his wife who is having an affair with his psychiatrist. They have a son. The wife is portrayed by Joanna Going and the psychiatrist, Patrick Malahide.

The New Zealand setting is not immediately evident, especially with several Americans in the cast. However, accents prevail and many audiences will realise where the film is set. Most of the action takes place at night, at a club, in rather dingy streets, as well as in homes, flats and the psychiatrist’s rooms.

The other significant feature of the film is its screenplay, with audiences having to concentrate because there are not only flashbacks but flashforwards, interrupting what seems to be straightforward narrative. This makes the film more interesting, as the audience has to work out the continuity of the actions of the characters, especially Robert and Heaven, interactions with Stanner (Schiff) and violence at the club. Also in the act is the bouncer, a friend of Heaven since school days, who wants to protect her and clashes with thugs at the door of the club as well as with Stan. This is an early role for Karl Urban.

The acting is one of the strengths of the film, Donovan more lively than in many other films, Schiff in an entirely opposite role from that in The West Wing.

An offbeat film, worth catching for those interested in such films as well as in films from New Zealand.

1. The title? The character? Club called ‘Paradise’? The ironies?

2. The New Zealand city, the homes, the clubs? Offices, law? The film both real and surreal?

3. The structure of the film? Direct narrative, flashbacks in, Heaven’s mind, visions and the future? The narrative going backwards and forwards? The effect on the audience, the complexity of the narrative?

4. The cast, and the number of Americans in New Zealand?

5. Heaven as a transvestite, working in the club, the other women, the prostitution, the clients? Stanner and his hold? Robert and his saving Heaven, the help when she was being attacked, her watching him being bashed? Their discussions, meals? The information? Her visions, the future, her telling Robert, the effect? Yet her wanting the visions to stop? The Doctor and his listening to Heaven, trying to get the information about the future? His approach to her, sexually, her being provocative, her taping him?

6. Robert, his experience, separation from his wife, love for his son, wanting custody? The separation? His drinking, at Stanner’s club, his gambling, his wife’s criticism? The work, the company? Heaven and the assault, bashed, hospital? His wife visiting? The phone calls? The outings with his son? The arguments, their meeting, in the lawyer’s office? Stanner and his threats? Heaven’s information, the tapes, the future? Heaven’s information about Stanner and his bluff in the game of cards, winning the money?

7. The character of the wife, her anger, Robert’s failures, her affair with the Doctor, the visits to the restaurant – paralleling those of Robert with her and with Heaven? The scene in the restaurant when Heaven realised what was going to happen and wanted to warn Robert and to leave?

8. The Doctor, his friendship, his clients, the affair with Robert’s wife, Heaven as a client, listening to her, his sexual approach? Her giving the box of tapes to Robert? His revealing them in the lawyer’s office, playing one of them? It’s being visualised? His upset, fearing ruin, killing himself in the car crash?

9. Stanner, the club, an American, women, gambling? His own games of cards, the bluffs? Robert and his vision, the tension, winning? Stanner and his brutality, towards Heaven, towards the bouncer, the fire and the thugs?

10. The bouncer, his friendship with Heaven, from the past, wanting to protect her?

11. The thugs, the approach to heaven, challenging the bouncer?

12. A slice of unhappy life?

QUICK CHANGE

US, 1990, 88 minutes, Colour.
Bill Murray, Geena Davis, Randy Quaid, Jason Robards, Tony Shalhoub, Stanley Tucci, Jamey Sheridan, Phil Hartman, Victor Argo, Philip Bosco, Kurtwood Smith.
Directed by Howard Franklin and Bill Murray.

Quick Change is an entertaining story, brief, taking place over a couple of hours, but providing entertainment, humour, ingenuity with the details of the heist, and the succession of events which hamper the getaway.

Bill Murray appears initially as a clown on the subway, walks into a bank, declares that it is a robbery and reveals that he is packed with explosives. He takes hostages from the customers at the bank. And then proceeds to get the money. One of the managers has managed to press the alarm so that the police are not long in coming. They are led by Jason Robards.

There are amusing complications, especially with the hostages in the vault, one of whom, easily recognisable as Randy Quaid spends a lot of time blubbering in fear. Soon we recognise a blonde, Geena Davis. They are the first to hostages released, along with Murray in normal clothes but also disguised. They talk to the police and then go off. Eventually Robards realises what has happened and is desperate to catch them to keep his reputation.

What follows are a whole lot of mishaps the three experience on the way to the airport, including missing the turnoff to the freeway, including going back to Phyllis’s apartment where they are accosted by the new tenant with a gun, avoiding the police, a taxi ride with a driver who does not speak English, they hurry into a room which turns out to be accounting house for a Mafia chief, and after talking their way out of it, they get on a bus, driven by the most anally retentive driver, eventually get into the airport on luggage carriers, get through customs, thinks that Phyllis is not on the plane… In the meantime, there has been an obnoxious customer in First Class with his wife – who, when he sees the police, thinks they are after him, Bill Murray helps in his capture, and off they go, while Jason Robards finally realises who they are and it is too late!

There are quite a number of performers early in their career including Tony Shalhoub, Stanley Tucci, Jamie Sheridan, as well as veterans with Philip Bosco as the obsessive bus driver.

1. An entertaining comedy, slight, brief, yet funny?

2. The New York City settings giving an authenticity, the subway, the streets, the banks, the side streets, apartments, the counting house for the Mafia, the bus route, the airport? The musical score?

3. The title, Grimm and his preparation for the heist, the planning with Phyllis, the disguise, Phyllis and Loomis in the vault as hostages, the quick change and his getting out, and the success of the robbery?

4. Bill Murray as Grimm, his love the Phyllis, her not revealing the pregnancy, wanting him to say that he loved her? The planning of the robbery, the six months? Involving Phyllis and Loomis? His disguise as the clown, in the subway, going into the bank, setting up the robbery, arguing with the security guard, rounding up everyone into the vault, his dealings with Chief Rotzinger, the phone calls, the discussions, his manipulating him? Getting the hostages to vote who should go, their wanting to get rid of the whingeing Loomis? His taking Phyllis? Her concern about his white paint as he talked with Rotzinger? The car, the money taped to them, his behaviour during the escape, the discussions with Loomis, Phyllis and her moodiness, the wrong turn, trying to get advice, the man with the parked car and his role bringing robbing them, but not realising how much he missed! In the apartment, the tenant and his wife, the gun, Grimm talking him down about prices and rentals, his knowledge from working in city planning? The taxi, the driver, the crash, having to leave it, Loomis and his injuries, unconscious? The ambulance coming, the police? Grimm and Phyllis with the gangsters, his spinning the story about his being a bagman, their getting out? Hurrying onto the bus, the bus driver and his demanding exact change, the rules, the man trying to get into the bus, getting out at the airport, getting on the carriages for cargo, getting through passport control, onto the plane, the encounter with the cranky man and his wife, Phyllis not on the plane, the police arriving, the Mafia chief thinking they are after him, Grimm and his help, the police taking notes to give him a medal, and happily getting away?

5. Phyllis, her love for Grimm, pregnant, not telling him, as a hostage, getting out, participation in the adventures to the airport, her change of moods, wanting Grimm to say he loved her, deciding not to go? In the airport? Not on the plane – but emerging from the toilet, and everything happy?

6. Loomis, past in prison, at school with Grimm, helping him, his performance and whingeing? Getting out, his excitement, poor driving, missing the turnoff, telling about the pregnancy, spoiling things? The crash, knocked out, getting on the bus? Finally on the plane?

7. Chief Rotzinger and his reputation, the media, his confidence, the negotiations, being manipulated, talking with the three and not realising what had happened? Grimm and his demands the helicopters and passes, the big truck? His working things out, the encounter with the bagman for the Mafia chief, the interrogation, interrogating the taxi driver, going to the airport, the Mafia chief, the medal for Grimm, the realisation after the event? His assistant, the police, the media?

8. The taxi driver, no English, with the passengers, the upsets, the crash, running away from the taxi, giving himself up to the police, the interpreter, information that they were going to the airport?

9. The men counting the money, the boss, his impertinent assistant in the confrontations with Grimm? The arrest of the bagman, his spilling the beans about his chief?

10. At the airport, the Mafia chief, his wife, on the plane, complaining, reaction to the police, his being taken?

11. All in all, a good example of American light humour.

THE OTHER WOMAN

US, 2014, 109 minutes, Colour.
Cameron Diaz, Leslie Mann, Nikolai Coster- Waldau, Don Johnson, Kate Upton.
Directed by Nick Cassavetes.

Well, we know what we think and feel when we hear about that kind of woman. This time it is Cameron Diaz, playing Carly, a sophisticated and well-healed lawyer. But, she is not quite as bad as we might initially suspect.

Somebody used the phrase ‘deserving victim’, a nicely precise description. Here it refers to businessman, Mark (Nikolai Coster- Waldau), whom we initially see romancing Carly. Everything seems wonderful, Mark genial and cheerful, Carly wondering whether this might be the real thing – and experiencing wry comments from her secretary,. And then suddenly, the audience sees him in bed – with his wife, Kate (Leslie Man). Mark is not nice, a two-timing philanderer.

Then Carly, believing that he has plumbing problems at home, turns up in her overalls with tools to help, only to encounter Kate. In several films, especially those directed by her real-life husband, Judd upper tail, Leslie Mann has been playing 40-ish wives with some kind of problems, often with the touch of hysteria. This time, with cause, she has more than hysteria.

Once upon a time in 1996, there was a very funny comedy, The First Wives Club, with Goldie Hawn, Diane Keaton, Bette Midler – and another group of philanderers. The film showed how the wives got together against their respective unfaithful husbands and became judges and jury to find ways of retribution. The Other Woman is not quite in the league of the 1996 film, but it has its interesting characters, vengeance and retribution situations (with Mark suffering quite a number of indignities but holding out as long as possible in his deceptions). And by 2014, dialogue and vengeance is more racy, raucous and raunchy than in 1996.

And just when it was a collaboration between wife and girlfriend, they discover Mark with yet another rather younger and beautiful woman (Kate Upton). She is immediately on side with the two women and they begin their work as three fateful furies.

As mentioned, Leslie Man is adept at this kind of role, her hysterics more than a little irritating at times – though one can understand how she feels. For 20 years, Cameron Diaz has shown versatility in her roles, from comedy to high drama. In this film she shows what a good sport she is, and how good she is at slapstick and physical comedy, having to do a fair amount of this in her quest. .

The film is enjoyable in its way, especially if you feel like sharing the vengeance on this current deserving victim, quite an amount of comedy and moralising, but not particularly memorable.

1. The title, audience expectations? Marital triangles? Revelations?

2. Affluent America, law firms, technology and programming? Restaurants and resorts? A glossy film?

3. The musical score, capitalising on songs and themes from the past, e.g. Mission Impossible theme…

4. The introduction to Carly and Mark, in love, living in luxury, her hopes, Carly and her age, past boyfriends, her secretary and her wry advice, the discussions? After all the happy situations, Mark’s excuse with the plumbing, her putting on her overalls, getting the tools, going to the door? Meeting catered the door, her fallback and smashing the vase, discovering the truth?

5. Mark, his age, his work, sexual relationships, seemingly happy with Carly? Waking up and the audience seeing him in bed with his wife? The audience knowing before Carly? His doubletalk, his excuses and explanations, his playing the field? His reactions and lies?

6. Kate, Mark’s wife, family, giving up her career from Mark, her many ideas and his exploiting them, her love him, his treatment of her? Her knowledge of
the truth, her hysterics? Going to visit Carly and her office?

7. Carly, Cameron Diaz and the physical humour, the jokes?

8. Kate, her weeping, her outbursts, erratic, having a cup of coffee with Carly, growing more dependent on her, the phone calls, wanting advice, Carly at meetings and her being called out? The interactions between the two?

9. Kate’s home, her anger, attitude towards Carly but being with her?

10. Plots and plans, putting them into action, raucous and racy, raunchy, the extended diarrhoea sequence? The effect on market?

11. Mark and his being a ‘deserving victim’, the pranks, the revenge?

12. Kate’s brother, the house, decorator, Carly taking an interest in him? The visits to the house?

13. Carly’s father, his life, to forces, advice to his daughter, an old roué, probably like Mark in his early life?

14. Mark at the beach with Amber, the women and their envy, disclosing Mark’s behaviour to her, her joining the plot, revenge?

15. Mark’s firm, socials and Kate going, the CEO, working with Mark, belief in him? Mark and his cooking the books? Carly and Kate, following him to the Bahamas, going to the bank, signatures, making Mark bankrupt, the vengeance? His reaction, desperation?

16. The CEO, acknowledging Kate’s ideas, getting her to work for him, her successful career?

17. Everyone happy, Carly and her relationship with Kate’s brother, Kate and her job, amber and her teaming up with Carly’s father – and Carly refusing to call her mother?

CAPTAIN SINDBAD

US, 1963, 85 minutes, Colour.
Guy Williams, Heidi Bruehl, Abraham Sofaer, Pedro Amindariz Bernie Hamilton.
Directed by Byron Haskin.

There have been many Sinbad films over the decades, with Douglas Fairbanks Jr in the 1940s as Sindbad the Sailor, with Maureen O’Hara?. Dale Robertson appeared in the 1950s in Son of Sinbad. With the developments in special effects, especially by Ray Harryhausen, there were more Sinbad films like The Golden Voyage of Sinbad, Sinbad and the 7. Brad Pitt was the voice of Sinbad in an animated version.

A lot of attention was given to sets and decor for this particular film, a lot of the action showing people in the city, scenes of the palace as well as scenes at sea and shipwreck. It was also lavish in its costumes, more for the men, less for the women.

The plot is quite slight, Sinbad is at sea, wanting to come back to marry the Princess, but in the bad books of El Kerim, who now rules the country but has never seen Sinbad. The other principal character is a magician, Galgo, played quite eccentrically by Abraham Sofaer. But his magical powers are kept in control by El Kerim, whose heart, literally, is kept outside himself which means that when he is attacked, especially in a fight with Sinbad who puts a sword through him, he cannot die. Another episode of magic is the transformation of the Princess into a bird who can fly out to sea with a note attached to her leg to warn Sinbad. This is thwarted when many of El Kerim’s soldiers are also transformed into birds, birds of prey.

When Sinbad comes back to the city, he pretends to be a thief so that he can be sentenced in the presence of El Kerim and fight him. It doesn’t quite work out like that but, having set up audience expectations, there is a fight to the death, with Galgo destroying the heart and so Sinbad is able to kill him.

The Princess is happy and she and Sinbad can live happily ever after.

The film was directed by Byron Haskin, special effects man who had a range of popular films as director including Treasure Island and its sequel Long John Silver, as well as the 1953 War of the Worlds and his film immediately after Captain Sindbad, Robinson Crusoe on Mars. Guy Williams was a popular star of Disney’s Zorro films and The Prince and the Pauper. He was also the star of TV’s Lost in Space.

It all looks a bit creaky now, especially with the development in special effects technology – but it is a harmless Saturday matinee kind of film.

KELLY + VICTOR

UK/Ireland, 2012, 95 minutes, Colour.
Antonia Campbell- Hughes, Julian Morris, William Ruane, Claire Keele.
Directed by Kieren Evans.

Kelly + Victor is a brief slice of life, a focus on two young people in their 20s who meet by chance, relate sexually, who develop an intensity in their relationship leading to sado-masochistic behaviour with dire results.

Antonia Campbell- Hughes looks rather waiflike as Kelly, but she has an intensity below the surface, separating from her boyfriend, wanting to control Victor, often the victim of her own weaknesses. We see her going with her friend, Victoria, to sado-masochistic episode in a basement where her friend is a dominatrix.

Julian Morris looks very ordinary as Victor, a man who works on the docks, would prefer to be out in the countryside, has a kind of poetic view of nature, but becomes entangled with his emotions and love for Kelly, becoming more deeply involved in the sado-masochistic behaviour which ultimately destroys him.

Kieren Evans won BAFTA award in 2012 as the most promising director.

1. A film about ordinary people in their 20s, lost souls, relationships, sado-masochism and the consequences?

2. The Liverpool settings, the city, homes, flats, basements, clubs, the gritty atmosphere? The contrast with the beautiful countryside, nature, flowers, growth? The work areas on the docks? The musical score?

3. The credibility of the plot? The performances? The delineation of the characters, their meeting, drugs and permissiveness, sexual relationship? The tensions? The effect on each of the characters? The chance of their coming together again? And the dire consequences?

4. The depictions of sexuality, sado-masochistic behaviour? The violence, the sexual power, pleasure? Addictive? Exercise of power and dominance?

5. The portrait of Kelly, young, her age, the breakup with her boyfriend and her hostility towards him, keeping him away? Her relationship with her mother, dropping in, cups of tea, chat? In the bar, dancing, the attraction to Victor, the drink, the cocaine, the sexual encounter, her coming alive, her dominating? The further visits, asphyxiation? The broken glass in Victor’s back? His not contacting her? In the bar, the confrontation, her being hit, the wound to her head, wandering the streets, the encounter with Victor, taking her to the hospital? Her recovery? The relationship on again? The sexual behaviour? The asphyxiation? His death? The film leaving her at the end, bewildered?

6. The portrait of Victor, 27, ordinary, at the bar, dancing, the attraction to Kelly, introducing her to the cocaine? The sexual encounter, the sadism, his own masochism? With his friends, the conversation? His workplace, on the wharves? Travelling out in the countryside? His friends and their drug deal, his wandering in the woods, his love of nature, wanting to be outside, away from the city? His friends not believing him? The same sentiments to Kelly? His second visit, the wounding from the glass and his reaction? His friends seeing the wounds, the discussion about whether he should break off or not? Hanging himself in his bathroom and his weeping. Asphyxiation? The effect on him? The break, not contacting Kelly? Seeing her wounded in the street? Taking her to the hospital? The relationship on again, the effect on him, the choking, his death?

7. Victor and his sister, the brother-in-law, the nephew, at home with them, the conversations, the support? Baby-sitting?

8. Kelly, Victoria, her work as a dominatrix? The client, in the basement, the weeping? Kelly and her challenge, not being able to go through with it? her sado-masochistic feelings?

9. Victor and his friends, their way of life, drugs, attitude towards sex, influence on Victor? The discussions with his friend in the bar, seeing him in the toilet with the woman? The more earnest friend and the change room, his advice?

10. A slice of life, a depiction of a relationship, its intensity, going out of control, the consequences?

LIVING IS EASY WITH YOUR EYES CLOSED

Spain, 2013, 107 minutes, Colour.
Javier Camara, Natalia de Sofia, Francisc Colomer, Jorge Sanz, Ariadna Gil.
Directed by David Trueba.


The title comes from John Lennon’s song, Strawberry Fields. And John Lennon is a significant presence in this film.

The time is 1966. The place is Almeria in southern Spain. It is a comparatively quiet summer, school is in and we meet Antonio, a teacher of English, using the lyrics of John Lennon’s songs, especially Help, for his students to learn and pronounce English. But, John Lennon himself is in Almeria for the filming of Richard Lester’s How I Won the War, one of Lennon’s few screen appearances. Antonio not has not only has a great desire to meet Lennon and talk with him about his lyrics, but he sets out on a special mission to meet him.

Antonio is played engagingly by Javier Camara, star of several of Pedro Almodovar’s films, a standout in his Talk to Her.

Living is Easy then becomes a road movie, significant for Antonio but also for two hitchhikers he encounters. We have seen one of them at a home for unmarried mothers, severe in treatment in taking the babies from their mothers when born, but touches of kindness for this girl, Belen. She decides to go to stay with her mother and so goes on the road, avoiding a man who shows suspicious attitudes towards her and driving off with the genial Antonio. He also sees a teenager on the side of the road. We have already seen him in the context of his family in Madrid, a kind mother with her many children, a severe father, a policeman. He has decided to run away.

With the sun shining brightly and with vistas of the sea, it is a cheerful journey. When Antonio books into a rather dingy motel, with a squat receptionist who speaks a dialect that nobody understands, he gets a room for Belen and persuades the friendly owner of the restaurant and bar, a refugee from Italy for the sun with Bruno, his son disabled with cerebral palsy, to employ the young boy part time.

By this time we are all eager ourselves to see John Lennon and to see whether Antonio can get on to the film set. There are various drawbacks and it would be a pity to spoil the plot outline by mentioning whether he sees Lennon or not. In the meantime, there are problems at the bar, some locals trashing it and bashing the young boy, as well is a sexual encounter, a ‘rites of passage’ kind of thing, between the boy and Belen.

Whatever has happened with John Lennon or not, Antonio has had a significant journey and has had a good influence on Belen and the boy whose father comes to take back home.

It is at this juncture that the lyrics of the song are spoken – a wry Lennon comment on what has happened.

This is a very pleasing film, with interesting characters, an interesting quest – and frequent touches of humour and good nature.


1. An enjoyable film? Living in Spain? 1966? Nostalgia?

2. The title, from John Lennon, from Strawberry Fields? The meaning of the title for each of the main characters? The end with the explicit lyrics?

3. Audience memories of John Lennon, of the Beatles? Of Lennon as a person, his lyrics, his books, the person of the 1960s, celebrity, the tours with the Beatles, his film career? Audience memories of his death? His influence?

4. The Franco era, already 30 years? 10 more years? Spain and its strictness, censorship? The military? The cult of Franco? The role of the church?

5. Antonio, his love of the Beatles, a good teacher, with the boys, getting them to speak out the lyrics, their meaning? The nuances? His use of this song, Help? I Wanna Hold Your Hand… Antonio and his quest, the trip, to talk with lemon? His picking up Juanja and Belen? The significance of the trip for them? Juanja and his not liking John Lennon, preferring the Rolling Stones, and Antonio ousting him and pretending a tantrum?

6. Juanja and his family, in Madrid, the kindly mother and her concern with her children? The father the policeman, stern? The young children? The gathering at the table, the meal? Juanja and his long hair, argument with his father? Typical teenager? His writing the letter about running away, his brothers finding it? His leaving home?

7. The number of slaps to the face and head in the early part of the film: the priest and the student at school, the supervisor in the home for pregnant girls, the father hitting his son, the little girl hitting the dog imitating her father?

8. Belen, her age, pregnant, out in the town, her cravings the sunflower seeds, the woman in charge and her getting rid of the mother at the gate, the woman and their taking her baby, her warning Belen? Belen deciding to leave, to visit her mother, running away?

9. Antonio, setting out on his trip, the car, filling up, giving a lift to Belen, rescuing her from the unwelcome attentions of the other driver, hurrying off? Giving Juanja a lift? The discussions? Talking, communicating, the beauty of the countryside, the sea? The region of Almeria?

10. Stopping at the village, the motel, the sleepy receptionist and his local accent and the comments? Juanja and his leaving? Antonio and Belen going to the cafe, the Italian proprietor and his story, his Spanish wife, the son, her going back to Italy? His son, Bruno, and his cerebral palsy? Antonio and his persuading the owner to take Juanja on for a job? The range of customers? Going to the motel, the rooms? Talking to the cafe owner of the possibilities for seeing John Lennon, accompanying the milk run, going to the gate…?

11. The trashing of the cafe, the bashing of Juanja? The challenge to them, and Antonio seeming to back down? Later and his driving away, seeing the man with his tomatoes, the confrontation, driving through the tomatoes and destroying them, his touch of vengeance?

12. The attempts to see John Lennon? Antonio and Belen going to the set, the argument at the gate, they’re not having authorisation, not getting in?

13. The decision to go to the theatre, going to see the old Spanish film about the priest, their hiding afterwards, the crew coming in to watch the rushes, Antonio sneaking in, his conversations, the friendly response, confident to go to the set the next day?

14. The visit to the set, the friendly English, Belen and her helping with the cutting of hair? Michael, his welcome to Antonio, taking him to the caravan, the glimpse of John Lennon? His visit, his happiness, the discussions, his manuscript with the gaps, the lyrics and filling the gaps, the translations of his songs? Lennon and his promise to come to the school? The recording of the song?

15. The background of John Lennon, filming in Spain, Richard Lester and How I Won the War?

16. The return to the hotel, the trashing and the bashing? Helping Juanja? His taking the poster of Claudia Cardinale and giving it is a gift to the owner of the cafe? Belen going to her room, the kiss good night from Antonio?

17. Belen and her return to Juanja’s room, their talk, the issue of sexuality, her pregnancy, the sharing their lives, her behaviour, the sexual behaviour, the effect on Juanja? The next morning and her disappearing?

18. Juanja and his father, his father’s arrival, critical, taking his son away, Antonio giving the gift of the tape recording, Juanja’s father and his criticism of contemporary music? Juanja’s future?

19. Antonio, his effect on Juanja and getting the job that experience? On Belen and urging her to have the child? His return to school at his home – and the joy of his experience?

INGENIOUS

US, 2007, 85 minutes, Colour.
Dallas Roberts, Jeremy Renner, Richard Kind, Ayelet Zurer, Marguerite Moreau, Amanda Anka.
Directed by Jeff Ballsmeyer.

Ingenious says it was based on a true story. The working title was Lightbulb!

This is small-budget independent film which is quite entertaining. It opens with Dallas Roberts and Jeremy Renner as two eager young salesman trying to sell watches with novelties, like indicating what a pet dog is thinking! They are not particularly successful, though some people admire the inventions. They keep trying.

Dallas Roberts’ Max is telling the story. He is married, loves his wife and she loves him – she is often away as his flight attendant. He has a gambling problem and his wife threatens ultimatums. He has good intentions but goes off to the greyhound track or to other opportunities, urged on by his partner, Jeremy Renner is Sam. Ayelet Zurer plays Max’s wife.

Their invention is stolen by a PR company; they are really desperate and Max goes to work for his wife’s sister and her company.

Then he ultimately gets a brainwave, a beer bottle opener which actually says ‘I like beer!’. Technical hitches almost prevent them from going to a big novelties exposition in Los Angeles, but the invention takes on, Max’s wife has invested her severance pay in the company – and all is well as they go into the recording studio and their actor for the English version records all kinds of ‘I like beer’ in other languages.

The film was very American in its belief that anyone can achieve anything and that business and money are such an important goal. But the film is so humane and amusing, we are caught up in the story of Max and Sam.

1. An entertaining story of ordinary characters, enterprise, the American desire to make good and to make money, the repercussions for character and integrity, relationships?

2. The film based on a true story, the inventor of the talking beer, novelties and sales, finance, gambling, the use of wits, enterprise and advertising?

3. Introduction to Max and Sam, their sales pictures, the invention of the watches, the reaction of the customers, limited sales, urging them to develop their pitch? People’s response? The salesman and his intervention, pressurising them, insulting the, stealing their idea, advertising the watches on television, success?

4. Max, his voice-over, his life story, his hopes and ambitions, drinking novelties, having many years, his love his wife, promising her not to gamble, being persuaded by Sam, betting them agree is casinos, lotteries? Her ultimatums? Love the him walking out?

5. Contrast with Sam, the daredevil touch, gambling, his influence on Max? His own relationships? Girlfriends? Gambling?

6. Max’s wife, flight attendant, the recurring conversations with her friend, explaining her love and relationships? Exasperation, Max drinking her trust? Leaving? Getting to work for her sister? Is doing work but his heart not in? The beer opener, showing it around, the favourable response? Her decision to invest her long service leave me? Becoming involved?

7. Max, the ups and downs of his moods, his hopes, middle age, his wife leaving him, his new invention, his being careful, his wife and her interest, the investment?

8. Getting his friends back, the secretary and office, the man critical of finance, coming back his accountant?

9. Advertising the beer opener, the studio, the actor and his jovial response – and later in warning him for advertisements in different languages?

10. The technical difficulties of the voice, going back to the manager, the workers fixing the openers and the voice? Going to the show, the exploiter mocking Max and Sam, the buyers, the order of several hundred or a wedding reception, in different languages…?

11. Pleasing variation on the American dream of success?

L' AGE D' OR


Spain, 1930, 61 minutes, Black and white.
Directed by Luis Bunuel.

Bunuel had already made his celebrated avant-garde short film, with Salvador Dali, Un Chien Andalou. This provocative film challenged the censors and the public.

An early sound presentation of bishops is found in Luis Bunuel’s avant-garde, L’ Age d’Or, co-written with Salvador Dali. Two lovers declare an attack on bourgeois French society; they are central but the film has all kinds of different episodes. A critique of contemporary society, including the Catholic Church, it culminates with a provocative tale:

The final vignette is an allusion to the Marquis de Sade's novel 120 Days of Sodom; the intertitle reads: 120 Days of Depraved Acts, about an orgy in a castle, wherein the surviving orgiasts are ready to emerge to the light of mainstream society. From the castle door emerges the bearded and berobed Duc de Blangis (a character from de Sade’s novel) who greatly resembles Jesus, the Christ, who comforts a young woman who has run out from the castle, before he takes her back inside. Afterwards, a woman’s scream is heard, and only the Duc re-emerges; and he is beardless. The concluding image is a crucifix festooned with the scalps of women; to the accompaniment of jovial music, the scalps sway in the wind. (Wikipedia comment.)

Buñuel's own synopsis of the clerical section of the film, written in French, in 1930:

Scorpions live in the rocks. Having climbed atop one of these rocks, a bandit sights a group of archbishops, who sing while seated in the mineral landscape. The bandit hurries to announce to his friends the presence of the archbishops. When he gets to his hut, he finds his companions in a strange state of weakness and depression.
They take up their weapons and leave, with the exception of the youngest, who cannot even get up. They set out among the rocks, but one after the other they fall to the ground, unable to go on. Then the leader of the bandits collapses without hope. From where he lies, he hears the sea and sees the archbishops, who are now reduced to skeletons scattered among the stones.

An enormous marine convoy comes ashore at this steep and desolate spot. The convoy consists of priests, soldiers, nuns, ministers, and sundry civil servants. All head toward the place where the remains of the archbishops lie.

Bunuel continued his critique of the Church for many decades.