HEALING

Australia, 2014, 115 minutes, Colour.
Hugo Weaving, Don Hany, Xavier Samuel, James Leonard Winter, Tony Martin, Robert Taylor, Jane Menelaus.
Directed by Craig Monahan.


This is a film one can heartily recommend to a wide audience. It is a beautiful film. It is a humane film. It is a film of hope and, as the title declares, of healing.

Writer-director, Craig Monahan, has not made a great number of films. He had success with his film, The Interview, 1998, about police and a criminal. It featured Hugo Weaving and Tony Martin who both appear in this film. Weaving appeared in his 2004 film, Peaches.

And, again criminals are an important part of the film. Hugo Weaving plays an officer in a Victorian prison. Don Haney plays a murderer serving an 18 year sentence. What brings them together, dramatically? The answer is birds.

Appearing during the opening credits are beautiful and moving sequences of an eagle in flight. In fact, throughout the film, there are many sequences of flight, eagles and owls, as well as close-ups of the faces and profiles of the birds. For these alone, many will find Healing well worth seeing. One of the birds, who is later named Yasmine, crashes into a fence. Matt Perry (Weaving) who has been looking after birds with his wife and setting them free for the wild, gets in touch with authorities at the Healesville Sanctuary to arrange care for the birds.

Perry comes to the idea of setting up cages and a sanctuary area within in the prison where the inmates could actually look after the birds and assist in their healing and re-training.

One of the prisoners, originally from Iran, Viktor, (Don Haney) shows an affinity with the birds and is commissioned to look after them, starting with Yasmine. He has been assigned a room (rather than a cell) which he shares with two young prisoners, the lazy Shane (Mark Leonard Winter) and the reclusive Paul (Xavier Samuel). Other prisoners help build the project.

While life is generally quiet in the prison, there is Warren (Anthony Hayes) who dominates the other prisoners and is dealing in drugs. He has a hold over Shane and unsuccessfully tries to dominate Viktor. Shane gradually understands the training of the birds and defies Warren – and after going to his twin brother’s funeral, accompanied by Perry, he decides to build a pathway amongst the cages in memory of his brother. In the meantime, Paul, secretive about his crime and his background, responds well to the birds and their training.

Another aspect of the plot is day leave for Viktor, to see his estranged son. But the day fails and Viktor seems to be back where he started, with Perry suspicious of him.

However, Glenys (Jane Menelaus) who is in charge of the birds at Healesville, trusts Viktor and pressures for the authorities to return him to working with the birds. The attempt to free Yasmine for the wild fails and she goes to Healesville.

While the film shows the healing of the birds, they are a symbol, of course, for the healing of the prisoners, with respect for them as persons, sensitivity to their problems, enabling them to walk free when their time has been served.

There is a very pleasing finale with the birds at Healesville Sanctuary.

This is quality Australian film-making, drawing on the talents of a wide range of technicians as well as of the cast and director.

1. The title question? The message? In images and symbols, in narrative?

2. An Australian story, universal impact? Victoria, the countryside, the prison, the city of Melbourne and its busyness? The Healesville Sanctuary? The musical score?

3. The theme of birds: the eagle flying, hunting, the owl, the pursuit, the accident? Perry and setting the owl free?

4. Victor, in the van, his threatening presence to save the young man?

5. The present, open, the range of inmates, their sentences, crimes? The entry process? The interviews? The rooms, sharing? The meals? The detail, eight hours a day? The wooden, his attitude? Matt Perry as a sympathetic guard? Leo and his friendship, sterner decisions? The range of the guards? The talent management, the more humane management, giving prisoners an opportunity?

6. Perry, the link with the Healesville Sanctuary, with Glenys? The bureaucrat at Healesville, afraid of the birds? The proposal of the show? Healing the birds? Outsourcing to the prison? Glenys’s assistant? The later scenes of the display, the birds, the visitors?

7. The flight sequences and their beauty, the close-ups of the faces of the birds?

8. The idea, Perry discussing with the warden, the building of the cages? Victor in charge? His choosing Shane and Paul? The details of the building? The project for the prisoners?

9. Shane, lazy, working Victor, resenting it? The photo with his twin brother? The news of his death, his reaction, grief? Perry going to the funeral with him? His suggestion of the pathway between the cages, doing the work, a memorial to his brother? His reactions against Warren? The possibilities for rehabilitation? His crime, drunk, backing over the child? Manslaughter?

10. Paul, quiet, not hearing his back story, gradually learning it, talk about his father, hard? ? In the room with Victor and Shane? With Shane, the discussions, Shane and his ambitions to buy the unit, showing the brochures to Paul? Paul and his work for Victor, with the birds, becoming attached? The sequence of letting the bird go into the wild, later checking on it? Some peace within himself? Achievement? His father visiting him? The reconciliation?

11. Issues of rehabilitation, the social worker, her presence at the prison, advice, to the warden? The warden and his management, worrying about the bureaucracy?

12. Leo, tough, going fishing with Perry, the sayings on his calendar and quoting them? His persuading Perry to reconsider Victor situation?

13. Warren, young, his control, drugs? His hold over Shane? Threats? Talking with Victor? Vindictive, Victor flushing the drugs down the toilet? The consequent treatment of Shane? Pressure? Threatening Victor? His killing Shane’s pet? Shane and the punch? The drugs planted in his room? His being transferred? Prisoners and their hierarchical systems?

14. The day release, the preparation for Victor, Shane giving him the leather coat, the framing of the photo of Victor and the eagle? Asleep on the train, leaving the picture behind, seeing his son waiting, his disappointment, drinking, Perry’s reaction, not trusting him, his having to start again? His working in the kitchen? Obsessive cleaning? In the hut, at work, in the kitchen?

15. Yasmine, his attachment to the bird, the details of the training, the trust, Yasmine not responding to Paul? Looking at Victor?

16. Perry, his wife, the death of their child, his taking down the swing?

17. Victor, his life, the background from Iran, drinking, killing his friend, 18 years, his shaming his family, not going to his wife’s funeral because of shame,
the distance from his son? His reputation for killing someone in Pentridge? Silent, obsessive, cleaning, in the room, dealing with Shane and Paul, building the cages, training the birds, a room on his own? Perry taking him to visit his house?

18. The ultimate decisions, Glenys and her tough mindedness, wanting Victor to work with the birds? The social worker, the warden, Leo and the pressure on Perry? His changing his mind? Having to let Yasmine go? not adapting to the wild?

19. Victor’s son, dictating the letter to the social worker, telling the truth, his shame? The son’s visit, his wife and the babt? Victor explaining the photo?

20. Everyone going to Healesville, the performance of the birds, Yasmine flying, Glenys encouraging Victor in his work? Yasmine flying to Victor?

21. The resolution, images, emotions, the wounded? Healing?

MUPPETS MOST WANTED

US, 2014, 101 minutes, Colour.
Ricky Gervais, Tina Fey, Ty Burrell, cameos by Tony Bennett, Hugh Bonneville, Jermaine Clement, Sean Combs, Rob Corddry, Mackenzie Crook, Celine Dion, Lady Gaga, Zach Galifiniakis, Tom Hollander, Salma Hayak, Tom Hiddlestone, Tony Jones, Frank Langella, Ray Liotta, James Mc Avoy, Chloe Grace Moretz, Usher Raymond, Miranda Richardson, Saoirse Ronin, Danny Trejo, Til Schweiger, Stanley Tucci, Christoph Waltz.
Directed by James Bobin.


With the new Muppets movie in 2012, the younger generation was introduced to those favourite characters of past audiences who are now parents and grandparents, appreciating the Muppets, their television shows and their movies since the 1970s.

This one opens with the finish of the first film, the Muppets all back together again and enjoying the bonding, but left with a camera – and what better than to make another movie!

The plot for this one is a bit complicated – but enjoyable for all that, with a load of guest stars doing amusing cameos, from Christoph Waltz to Hugh Bonneville from Downton Abbey, to Salma Hayak and to a singing and dancing group, rehearsing I Need This Job from A Chorus Line (and Machete’s and Bad Ass’s Danny Trejo of all people doing a solo recital!). That may be significant for the adult audiences – the teenagers were happier with a cameo sequence from the singer, Usher, which may have been lost on the adults.

A villain played by Ricky Gervais, Dominic Badguy, persuades the Muppets that he would be an excellent agent for them, urging a world tour, encouraging them each to develop their own act, which they are eager to do. The only dissenting voice is that of Kermit who suspects something. But the Muppets believe Badguy and off Kermit goes, only to be arrested because he resembles the most criminal frog in the world, the Russian Constantine. Constantine is in league with Badguy and they are planning a series of robberies which will culminate in stealing the British Crown Jewels.

The road to London requires a number of other robberies and, therefore, the Muppets go on tour. It includes a first visit to Berlin, than a performance in Madrid (and it is enjoyable to see the television opening of The Muppet’s Show in Spanish). Some of the acts are so noisy that they drown out the digging and explosions which Constantine and Badguy are involved in. And, to Kermit’s later disappointment, the Muppets are taken in completely by Constantine’s attempts at impersonating Kermit, even Miss Piggy.

In the meantime, Kermit is interned in a Gulag. His guard is Nadia, played by Tina Fey, with songs, dances, Russian parody, comedy routines, obviously enjoying herself in this role. Kermit tries a number of escapes but Nadia is always ready because she has seen all the escape movies and knows the obvious attempts. Then she asks him to advise on the annual prison revue. This is where the song and dance routines come in, especially that parody of a A Chorus Line. Ray Liotta is amongst the hoofers! Then it is off to Dublin and finally to London where Constantine, who has proposed to Miss Piggy, is going to stage a ceremony in the Tower of London to cover the robbery.

Fortunately, in the meantime, Fozzie and Animal have hurried over to Russia to free Kermit to be back in time to thwart the wedding.

Most of the popular characters from The Muppet Show have a chance to appear and make their mark.

Watching the Muppets, most audiences will probably have a smile on their faces and get some laughs as well and be happy that here they are, hopefully not for the last time.

1. The long popularity of the Muppets? The 1970s onward? The range of films, television programs? Characters? The 21st century?

2. The return of the Muppets in film, the effect, a sequel?

3. The attraction of the Muppets, the characters, look, the range of types, the voices, action, comedy?

4. The finishing of the film, the bond between the group, reunited? Walter and his place with the group? Introduced in the previous film? Their having the camera, deciding to make a new film?

5. The comedy of the sequel song – and the parody of Hollywood attitudes?

6. The voice talent, the range? The many cameos and their comedy?

7. Dominic Badguy and the meeting with the Muppets, his persuasiveness, pleasant, to be a manager, fulfilling their dreams, letting them do what they wanted? Kermit not agreeing? Walter and his confusion?

8. The phone call to Constantine? Badguy and his double-dealing?

9. Constantine, the, the most dangerous frog in the world, engineering his escape from the gulag, the explosions, blowing up the prison? His accent? Taking Kermit’s place?

10. The Muppets and the response to Badguy and all that he offered? Everybody wanting their own performance?

11. Kermit going, his being taken, imprisoned in the gulag? The headlines? The Muppets and their believing Constantine?

12. The tour, going to Berlin, the setup, rehearsals, the robbery with the noise covering?

13. Madrid, the Muppet show in Spanish, the audiences, the boring performances, Miss Piggy and her singing, people waking up with a standing ovation?

14. Going to Dublin, near the bank? Again the robbery, the noise drowning the explosions?

15. The plot of the Tower of London? Badguy and Constantine working together? The Tower of London? The crown jewels? Miss Piggy’s wedding to cover the robbery?

16. Nadia, in the gulag, the satire on Soviet women guards, her song about prisons, lights out and her tripping? Her interest in Kermit? Her shrine to him?

17. Kermit, the escape attempts, Nadia always waiting, the textbook and movie escapes?

18. Her wanting him to do the annual revue? The comedy of the rehearsals? The prisoners performing? Song and dance? The song from A Chorus Line,
Danny Trejo and his singing ‘I need this job’?

19. Constantine as Kermit, the Muppets believing him, his treatment of the Muppets, his treatment of Badguy? Walter and his doubts? Discovery of the truth, with Fozzie and Animal, going to Siberia to rescue Kermit?

20. Kermit, the performance of the song, the Coal Mine, Nadia and the audience, her enjoyment? The escape?

21. Constantine, proposing to Miss Piggy, her usual character, dominating, accepting?

22. The set up, Miss Piggy in the bridal dress, Constantine in the suit, the Minister, going up the aisle?

23. In the meantime, the small Muppets, Badguy and his organising them to get in, the key, his stealing the crown jewels, the moment of double crossing
Constantine?

24. The wedding, Kermit in the mirror, the to-ing and fro-ing of each frog in front of Miss Piggy? Kermit and his hesitation and Miss Piggy knowing he was the real Kermit?

25. The helicopter, the villains escaping, the Muppets forming a chain to anchor the helicopter?

26. Badguy and his betrayal, capture, Constantine besting him?

27. And all the Muppets together again? And the audience enjoying this?

NYMPHOMANIAC VOLUME 2

Denmark, 2013, 123 minutes (abridged version), Colour.
Charlotte Gainsbourg, Stellan Skarsgaard, Shia La Boeuf, Christian Slater, Jamie Bell, William Dafoe, Jean- Marc Barr, Mia Goth.
Directed by Lars von Trier.

Nymphomaniac Volume 2 begins, of course, where the first Volume stopped. Joe (Charlotte Gainsbourg) is still talking with Seligman (Stellan Skarsgaard), the therapeutic conversation that she began when he rescued her from her injuries in the street.

There is something of a different tone in many of the sequences in this Volume. Joe is played in the flashbacks by Charlotte Gainsbourg, instead of Stacey Martin as in Volume 1. She is still with Jerome (Shia LaBoeuf). They marry and have a child. But, as the years pass, Joe’s psychology and sexual proclivities manifest themselves again.

A great deal of time is spent in Joe’s encounter with K. When she loses all sexual feeling, she goes to visit K in his office, with the waiting room full of other women. The point of K’s therapy is that it is sado-masochistic. With her various visits to K, and the long part of this film that is devoted to these visits, there is a certain prurient curiosity aroused in the audience, and at times the director seems to be indulging that curiosity, allowing the audience to pry. But, since this is not the usual experience of most audiences, there is a certain feeling of being repelled by this part of Joe’s life.

Her loss of sexual feeling is extended to feelings for her son, when she leaves the child alone since the babysitter had not arrived. What follows is a sequence that parallels the episode in von Trier’s Antichrist, the little child going to the window, on the windowsill, with the possibility of its falling to its death. The result is that she loses her child to her husband – but seems to manage without him.

The next new character, not in Volume 1, is L, played by Willem Dafoe, who runs a company that uses standover tactics to pressurise clients to recover money from debts. Joe applies for a job and, for many years, is successful, not afraid to use violence to torment people – quite a powerful sequence with Jean Marc Barr as an unaware paedophile whom she taunts and tortures. These episodes add another touch of grim nastiness to the tone of the film.

This is increased when K advises her to prepare her successor and she grooms a young girl, an awkward young girl with the lack of self-esteem, to be ready for the standover job. Over the years, she is completely successful, but, in the vein of the film, there is a sexual relationship between the two women.

And then the story comes full circle, an unexpected situation and some violence.

This Volume is a little different in that there is an intellectual and artistic component, a number of references to Christian history, to iconography, to music, to Freudian psychology, digressions generally instigated by Seligman. The main difference for Joe is her story, told by her father (a welcome return from Christian Slater as the father) about everyone finding their own personal tree. There is a more lyrical and symbolic sequence where Joe scales a mountain, finds her tree in the glow of the sun.

It would be a relief to say that the film’s climax is in this vein – but it is not and the dramatic ending is quite unexpected and shocking.

Nymphomaniac is certainly a cinematic achievement, an exploration of sexuality in so many of its forms, sometimes clinical, often therapeutic, daring in some of its explicit sequences, not the kind of film that mainstream audiences would be interested in or enjoy – it is a specialist film, the type of film that might be expected from Lars von Trier who is never restrained by inhibitions.

1. The impression of the film and its characters and themes by the end of Volume 1? The portrait of Joe, the portrait of Seligman, Joe and her past, her psychology, the need for conversation, of therapy, the sexual behaviour, the nymphomania? A good relationship with her father? Her relationship with Jerome, from the first meeting, later meetings, marriage? The range of partners? The heritage of Mrs H and her children in the confrontation?

2. Her being in Seligman’s house? Continuing her story, his attentive listening? Yet his distractions, his digressions, into art, into question history, psychology…? The split between East and West and the Church, 1053? Joe’s images of the Whore of Babylon and Messalina? Sexual significance? The background musical score, contemporary, classics, Handel? Wagner?

3. Joe’s story, reunited with Jerome? Having a home? Changing? Jerome and his life? Her loss of sexual feeling? The episode with spoons in the restaurant? Joe and the powers of cars and Beethoven’s Fur Elise? the encounters with J and the sado-masochism? L and his standover collecting job? The confrontations? The various characters, including the paedophile? Her protégé, the relationship, the apprenticeship? Jerome as a victim of the collector? Going to the house, the gun, Seligman finding her in the street? The shock ending?

4. Seligman and his listening, empathy, his questions, his own attitudes, her asking him about his sexuality, asexual, fish? Listening? Questioning himself? The final attack and his death? The grim picture of men? Their treatment of women?

5. Charlotte Gainsbourg as Joe, fulfilling the role in Volume 2 and some flashbacks? Her age by Volume 2? The relationship with Jerome, the life, the years passing, her pregnancy, giving birth and its effect? Loving her child?

6. Losing her sexual feelings, the years, Jerome and the sexual relationship, his absence? Her discovering K, the awkwardness of the first visit, in the waiting room, the other clients? K as a character, the range of clients? Her return? The encounter, the sado-masochism and its details? The whippings, crying out, the sexual feelings? K himself, seemingly asexual, yet his control, the sadism? His relationship with the clients? Joe and her wanting a more personalised sexual relationship?

7. The man in the street, asking him to proposition the black men, their going to the room, stripping, their arousal, the sexual encounter with Joe? The aftermath? Their language, arguing between themselves?

8. The effect on her of this sado-masochism? The long sequences and their effect on the audience? How prurient?

9. The babysitter, not arriving on time, Joe wanting to go to the appointment, leaving the child, the child going to the windowsill, the danger of its falling out (as in Antichrist)? Jerome coming home, her absence, his decision to leave, putting the child in foster care? The name Mars for the God of war? Joe and her supporting the child in the foster home, with the money every month?

10. The character of L, his personality, her application for the job, his standover tactics, debt collecting? Taking the job, the passing of the years, her efficiency, sexual power, as illustrated by the assault on the man and revealing his paedophile proclivities, yet his controlling them all his life? Her humiliating him? Stripping him physically and psychologically, emotionally? Her comparing her loneliness with his?

11. L, wanting to have a successor for her, his choice of the young girl, Joe ingratiating herself with the girl, the basketball matches, praising her, boosting her self-image? The girl and her dependence, asking questions? Growing up? Joe’s work? Becoming an apprentice? The graphic sexual scenes between them, the lesbian behaviour? The effect on the girl? On Joe?

12. The image of the tree and finding one’s personal tree? Her going to the mountain and discovering the tree, the sunlight?

13. The discovery that Jerome was a target, leaving it to her protege, Joe’s absence, the liaison is, getting the gun? Going to Jerome’s house, seeing the relationship, her anger, with the gun and shooting?

14. Being accosted in the street, Jerome, the girl? Adele and her despising of Joe, the physical violence in fight? The gun?

15. Coming to the beginning of the film, to Seligman, the final talk, his approach to her, shooting him?

16. The tone of the film, the complete film, the ugliness and nastinesses in Volume 2?

17. The overall effect? The character of Joe, understanding her sexual motivation, behaviour, proclivities? Her exploiting them? Her self-focus? The
moments of altruism in her life? The presentation of the men, exploited, exploiting, the range? Volume 2 and the greater psychopathy, loss of feeling, the brutality, the exercise of power in her job, exploiting her apprentice, disillusioned by her? Disillusioned with the final behaviour of Seligman?

18. What was the audience left with in terms of interest, entertainment, therapy and psychology in cinema?

POWDER TOWN

US, 1942, 79 minutes, Black and white.
Edmond O’ Brien, Victor Mc Laglan, June Havoc, Eddie Foy Jr.
Directed by Rowland V. Lee.

Powder Town is an offbeat farcical comedy that served as propaganda in 1942. It is the story of an absent-minded scientist, played by Edmond O’ Brien in an unusual role for him. but he has all the formulas in his head and is headhunted from his university by a company interested in making munitions. He writes notes, in rather kindergarten-like hieroglyphics.

He boards in a house full of girls who work at a local casino. They are after him for his charm and, eventually, the money that he wins while having a drink and having a lucky streak at the casino. He is also pursued by agents who are after his formula.

Victor Mc Laglan is there as usual as a boisterous bodyguard who can knock out everyone in the bar. June Havoc is one of the girls who is on the scientist’s side even when offered money to steal his formula. The leading lady is Dorothy Lovett, also employed by the spies but doing everything to help the scientist. Eddie Foy’s comedy is a bit corny and dated.

The film was directed by Rowland V. Lee, better known for serious films like The Count of Monte Cristo and Tower of London. Perhaps comedy was not his forte.

1. Interest because of its release at America’s entering into World War II? Comedy? Propaganda?

2. Powder Town, industrial development, munitions, the factories, the work staff? Research and experiments?

3. Penji and his personality, in the laboratory, not wanting intrusions, the experiments with the janitor, the head of the department interviewing him, the explosions? His being headhunted for the munitions factory? His agreeing to go? Writing his formula on walls, keeping the details in his head? His being employed? His experiments at the company, having Jeems as his bodyguard, the accident with the water and his falling down the stairs? Meeting Jeems again, being shown around, his experiments? Going back to the boarding house, the encounter with Sally Dean and the accident, buying her the dress, her refusal? Seeing the girls dancing, his friendship with them?

4. The boarding house, the old Ladey managing, her kindness, the girls dancing, working at the casino? Following Penji? The attraction? His going to the casino, lucky streak, thebig wins? Dolly and her particular interest? Preserving the cash?

5. Jeems, tough, his work at the factory, his sidekick and the humour and repetitions? The initial humiliation? Friendly with Penji? The attraction to Dolly, her treatment of him? The factory, pleading with the boss for his sidekick’s job? At the bar, the fight, single-handed victory? The spies, being tied up, keeping his sidekick at the door?

6. The spies, in the companies, wanting formulas, the thugs? The man in the office, link with the owner of the bar? Treatment of Penji? Making him drunk? His belt? Not having the formula?

7. The formula, Penji giving it to Sally? Dolly searching for it? Their combining their efforts? Going to see the boss? The unmasking of the spies?

8. The settlement, the timebomb, the explosives, Jeems and Penji and their taking the bomb onto the road, the car in pursuit, their crash into the water, the explosion?

9. Penji, his theories, the sun and its rays, the basis for experiments with explosions? Ultimate success?

10. A film of its time – its value in retrospect?

ROUGHSHOD

US, 1949, 89 minutes, Black and white.
Robert Stirling, Gloria Grahame, Claude Jarman Jr, John Ireland, Sarah Haden, Myrna Dell, Jeff Donnell, James Bell, Martha Hyer, Jeff Corey.
Directed by Mark Robson.


Roughshod is a little-known western of 1949, but interesting and entertaining in its way, a touch different, a touch more humane.

Three escapees from prison kill a man and take his clothes and horses and set out in pursuit of the man who is responsible for the leader going to prison. The film then introduces a would-be rancher, Clay (Robert Stirling) and his younger brother (Claude Jarman Jr in a strong role). Warned that they may be pursued, they try to take their horses to Sonora in order to set up a ranch. They encounter a group of four women who have been kicked out of Aspen as saloon girls. Their wagon has crashed. Clay takes the girls to the nearest homestead where it emerges that one of the girls is the daughter of the couple who own it – and the father does not want the girls in his house.

The rest of the film is the journey that Clay and his brother have with Mary (Gloria Grahame) and another girl who then teams up with a prospector. Clay is attracted to Mary but disapproves of her past. After some clashes, he puts her on a stagecoach to Sonora. It is at this time that the pursuers catch up with Clay and there is a shootout – rather calmer and lower-key than melodramatic shootouts in many westerns, which makes it all the more plausible.

The film was directed by Mark Robson, about to become a first list director after smaller films including several horror films for producer Val Lewton.


1. An interesting Western from the 1940s? Variations on themes? Settlers, horses, saloon girls?

2. The black and white photography, the picture of the West, the towns, the mountains, the homesteads? The musical score?

3. Clay and Steve, brothers, Clay and the involvement with the killer, responsible for his imprisonment? The target for vengeance? Clay and his looking after his brother, the difference in age? Their horses, wanting them over the mountains, to set up a ranch? The bonds between the two, the clash over Mary?

4. Steve, his age, devotion to Clay, buying the bullets, Clay buying him the gun? His interest in the women, kind towards them? Seeing Clay kissing Mary, his conclusions? His defying Clay? The reconciliation? Learning the alphabet from Mary? Pragmatic but the others urging him to learn?

5. The four women, kicked out of Aspen, saloon girls, reputations, the reason for their being ousted from Aspen? The wagon, on the mountain, seeing the dead body, the crash of the wagon? Clay finding them? Helping? Getting them to the Wyatt household? Not wanting to take them with him over the range? Mary as leader, Elaine and her illness, the other two girls? Mary and her discussions with Clay, her possibilities for changing? Her teaching Steve the alphabet?

6. The Wyatts, the welcome, discovery of their daughter, the father’s anger, wanting the women out? The mother glad to have her daughter back? The girls having to move on, having the meal? Clay and his discussions with Elaine, his view of the women?

7. The women using their wiles to persuade Clay to take them? His eventually giving in? The clashes with Mary? Finding the prospector, the girl talking with him, the gold, staying with him? Mary going on, the wagon into the river, Clay rescuing her? His anger? Her clothes? The stagecoach coming, her joining it?

8. The three escapees, the opening of the film, confronting the men, killing him, taking his clothes? The pursuit of Clay?

9. The eventual confrontation? Clay wanting Steve to go, his return? Stalking each other amongst the rocks, in the woods? The deaths? Steve being wounded? The confrontation with the main killer, Clay shooting him?

10. In town, the horses, the prospect of the ranch, the doctor helping Steve, Mary and her help, not getting the job, Clay and his apology, their future together?

BATTLEFIELD EARTH

US, 2000, 118 minutes, Colour.
John Travolta, Barry Pepper, Forrest Whitaker, Kim Coates, Michael Byrne.
Directed by Roger Christian.

Battlefield Earth was a box office failure on its release. It has not improved with age. Many critics and the public thought it was one of the worst films ever made – one blogger saying it was the worst form of the millennium (and that in the first year of the millennium!).

The screenplay is based on a novel by Scientology founder, L.Ron Hubbard. It is over to those the approval of the Scientology of those who criticise it to explain if there is a Scientology subtext to the film. But, perhaps that is not worth the effort.

The setting is the year 3000 when humans have been subjected to an alien race, the Psychlos, near enough to Psychos. With their make up and other gear, they do resemble some characters, like the Klingons, from the Star Trek series. They are definitely ugly.

Barry Pepper portrays a young man in a primitive community, who listens to the wise men of the tribe who talk about the gods, coming from the sky… He does not believe, but goes on a quest to liberate his people. He encounters two hunters and joins with them but they are captured by the Psychlos. They are put to work in goldmines – despite the fact that Fort Knox is still standing and is full of gold. In fact, like The Planet of the Apes, the ruins of America are still standing.

The plot of the film shows the captives and their clashes with the authorities, their hard work, the determination of the hero to revolt, the uprising and the battles.

John Travolta, devout Scientologist, was one of the executive producers of this film and plays the central role of the main Psychlos. He booms and menaces, trying to play the villain, but so much of his dialogue is trite or absurd, that he does not really create a villainous character except in look. He is supported by Forrest Whitaker, looking even more idiotic, who is put upon by his master and begins to be sympathetic towards the rebels.

The settings and the special effects are not of the highest quality, which also undermines the impact, when they are compared with other films of this kind.

What is worse is the dialogue, stilted and at times bordering on the stupid or the absurd – and some heavy American jargon. And the performances, even of the stars, do not enhance this dialogue.

Which means that many audiences laughed at the film rather than enjoying it.

The was directed by Roger Christian, director of such films as Hyper Sapien and The Time Guardian.

A relic of the influence of Scientology and of poor filmmaking.

SPECIAL FORCES/ FORCES SPECIALES

France, 2011, 109 minutes, Colour.
Diane Kruger, Benoit Magimal, Djimon Hounsou, Denis Menochet, Mehdi Nebbou, Tcheky Karyo.
Stephane Rybojad.

Special Forces is an action story, made 10 years after the American invasion of Afghanistan in the wake of 9/11. While it is patriotically French, it is quite similar in its style and action to American action films, especially Lone Survivor, 2013, about a similar mission of American troops in Afghanistan, 2005.

The end of the film pays tribute to international journalists who risks their lives in order to report the stories from dangerous regions. Diane Kruger portrays Elsa, a journalist in Pakistan and Afghanistan who is concerned about women and their status, interviewing a young girl, getting her story, the girl wanting the story changed so that outsiders would understand what was happening. She is abducted by the Taliban chief and executed.

Elsa and her driver are also abducted in an ambush on the streets, taken to prison.

In the meantime, French authorities, including the President, take advice about what should be done, deciding to rescue mission for Elsa, part of the motivation being that they didn’t want to be humiliated by the Taliban.


Two leading members of the special forces are played by Djimon Hounsou and Benoit Magimal. The Admiral of the carrier in charge of the mission is played by Tcheky Karyo.

The film has the advantage of location photography, sometimes quite spectacular. It also has the advantage of judiciously staged an edited gun battles between the French and the Taliban.

However, the final impact is of a not unusual story, a mission, collaboration between special forces, despite the topical plot and, for many audiences, exotic locales.

1. An interesting topical film? Special mission? Action?

2. A story of 2011, Pakistan, Afghanistan, invasion, occupation, international troops, the Taliban?

3. The title, the focus, the special forces themselves, the individuals, working as a team, rescue, courage and ingenuity? The issue of backup? The short time frame for the mission, the naval carrier, the planes, helicopters, radio connection, losing contact with the group?

4. The introduction to Special Forces, the episode in Kosovo, action, rescue, the people involved? A prelude to missions in Asia?

5. Elsa, her work as a journalist, interviewing the young Muslim woman, oppression, raising her veil, allowing the interview, a reaction against oppression? The answer and her interest, her writing, communicating, the danger, with Amin, having to escape, the road being blocked, the reversing of the car? The ambush? Covering her face, trying to escape, her being taken? Incarcerated, questioned, in the cell with Amin?

6. Discussions in France, the Presodent, the board meeting, the Admiral, the special services chiefs, advisers? The decision to rescue Elsa? Public standing? Public opinion? Not being humiliated by the Taliban and authorities?

7. The preparations for the mission, the men and their backgrounds, the party sequence, the pregnant wife, the discussions? Having to leave at short notice? Their working together? The different characters, styles, skills, collaboration together? The introduction of Elias, new to the group, sniper?

8. The flight, the landing? The range of weapons? The attack, into the prison, searching the corridor and rooms, finding Elsa, taking her and Amin? The escape?

9. The numbers of Taliban warriors, the numbers killed by the special forces? Meifa and his command, his antagonism towards Elsa, the young girl, her being executed, lifting her veil? His background, Elsa defying him, his studies in western universities? His role in the Taliban, his pride? His followers, his violent attitudes, killing at whim?

10. The main part of the film the journey through the different terrains, in Pakistan, the mountains, the desert?

11. The hardships in the trek, Elsa as a woman, weaker from prison? Suspicions of Amin, trust, giving him the gun? The men themselves, camaraderie, working together, the effect of deaths and morale? The criticisms of Elsa as a journalist and the rescue?

12. The pursuit, the guns, Elias and his skill as a sniper? The village, Elsa going to ask hospitality, the villagers having to welcome the group, enemy or friend? With the women, the children being taken and trained in sharia law, the men and the hospitality, food, clothing?

13. Meifa and his group, coming into the village, the search, the vengeance, the killings? The special forces coming to the rescue of the village people?

14. The continued pursuit, the stand on the top of the cliff, the elimination of so many of the pursuers, may you have and his demanding that they go on?

15. Elias, in the rear, helping the escape, his being chased, shot and his death?

16. The other members of the group, wounded, the deaths? Carrying the wounded man, helping Elsa?

17. The two members remaining, their characters, working together, leadership? Making Elsa leave?

18. Going to the desert, her being found, rescued, healed? Yet her wanting to go on the helicopter? The search, finding the two men, the rescue?

19. The Admiral, his work on the ship, trying to make contact, his apology to Elsa?

20. The film and its action? A poster for French Special Forces? The similarity to American films such as Lone Survivor? Audience response depending on views about military presence in Afghanistan?

FIVE CAME BACK

US, 1939, 75 minutes, Black and white.
Chester Morris, Wendy Barrie Lucille Ball, Joseph Calleia, Kent Taylor, Patrick Knowles, Sir C.Aubrey Smith, Elizabeth Risdon, Allen Jenkins, John Carradine.
Directed by John Farrow.

Five Came Back is a disaster movie before they became popular. There had been some disaster films like San Francisco in 1936 and The Hurricane in 1938. However, this is one of the first air disaster films.

It is interesting to look at the aviation of the time, the planes, the pilots, the accommodation on board, destinations and stopovers.

The story involves 12 people on a plane bound for Latin America. The passengers seem normal enough, although there is a selfish man, rich, running away with his secretary to marry her, Patrick Knowles and Wendy Barry, there is a jaded goodtime girl, Lucille Ball in an early role, and a dignified elderly couple played by Sir C.Aubrey Smith and Elizabeth Risdon. Chester Morris and Kent Taylor are the two pilots. The other interesting character is a killer being extradited to Panama, handcuffed to a bounty hunter, Joseph Calleia and John Carradine. In fact, the killer turns out to be one of the decent members on the plane.

The plane crashes in a violent storm, in remote valleys, which searches do not find. Nevertheless, the group make a community, make do with what they have, with the pilots repairing the plane. Not everyone can take off and so the elderly couple remain behind and the killer makes the decision as to who should leave.

Later plane disaster films, including the Airport series, were more sophisticated in their filmmaking, but not necessarily better in the range of characters, behaviour and dialogue. The film was directed by veteran, John Farrow, who is to make a number of action films in the next decade. The 1957 remake was Back From Eternity.

1. A popular disaster film of the 1930s? An air disaster? Aviation in the 1930s, passenger flights, the size of the planes, their comforts, the staff? In comparison with later decades?

2. The black and white photography, the airport settings, inside the plane, the jungle settings? Musical score? The cast?

3. The preparation of the flight, technical aspects in the United States, the plane ready for the flight? The two pilots, their characters?

4. The range of passengers: Alice and Ellis, wealthy background, secretary, eloping? Peggy, the girl with the past? The elderly couple, 35 years married, his expertise in science, her devotion? The little boy and his gangster father, entrusted to Pete? The prisoner, his background, the bounty hunter and his determination to deliver his prisoner?

5. The flight, the comfort on board, Bill and his flirting? Alice and the air-conditioning? The little boy, Pete telling him the story? All normal? The first landing, the meals, continuing the flight? News about the gangster gunned down?

6. The storm, the little boy and his being upset, the women taking care of him? The pilots, turbulence? The door, the steward and his being dragged out of the plane? The bounty hunter and his drinking, pulling the gun?

7. The crash landing, success? Marooned, the jungle, hearing the local drums, fear? The number of weeks in the valley, the attempts at search, their not being found, speculation as to where they should be?

8. The group managing, the officer in charge, the elderly professor and his observations and analysis of the situation? The bounty hunter, his disappearance?

9. Managing, repairing the plane? Testing the engines? Difficulties? Unable to take off with all the passengers, Pete and his being attacked, his death? Ellis and his trying to bribe to get on the plane? The elderly couple and their decision to stay, devotion to each other, appreciating each other and their long marriage?

10. The killer, getting the gun, wanting order, the group allowing him to make the decision as to who should go since he was being objective, he had to stay and not return to execution? His decision against novels, Ellis’ death?

11. Peggy, the attraction to the pilot, offering to stay, going? Alice, the attraction, leaving her fiance behind?

12. The take off, the five coming back?

GORE VIDAL: THE UNITED STATES OF AMNESIA

US, 2012, 83 minutes, Colour and Black and white.
Gore Vidal,
Directed by Nicholas Wrathall.

Certainly an offbeat title. And the premise of the plot is rather suspect, though treated more gently than might be expected.

We are introduced to two characters, one in his middle age, the other older. They are played by John Turturro and Woody Allen.

Fioravante (Turturro) is a quiet character, who works in a flower shop and is an expert as at floral designs. He is helping his friend, Murray, packing up books because people are less interested in books these days. Murray has visited his doctor for a dermatology procedure and the issue has come up about sex, relationships and a menage and Murray has the bright idea that his friend, Fioravante, might respond to such requests and start a career as a gigolo. Murray is eager to be his agent – and even more eager not only to have an agent’s fee but, as waitresses do in restaurants, share tips.

This might not be the story an audience would like to watch – but, it is treated with more humanity than might have been expected, raises issues of sexuality and relationships, and does so with some humour.

There is little given about Fioravante’s background or why he should agree to take on this role. Seeing him with a number of clients shows his sympathy, kindness and regard for women. One is played by Sharon Stone, initially shy, but wanting revenge on her husband. Another is played by Sofia Vergara, who is in for the experience. But one woman he encounters is a widow from the strict Jewish community in Brooklyn, who stirs emotions in him as well as in herself.

It should have been said earlier, that the role of Murray is very much a typical Woody Allen character, full of anxious remarks, full of one-liners, keeping the audience very much amused with his worrying character and his style. And suddenly it is revealed that he has an African-American? wife and several children with whom he is a tender father.

This brings in the Jewish community, very strict in its regulations, Murray not fitting into their ideals. Liev Schreiber is one of the local equivalent of police, keeping an eye on everyone’s behaviour, even to arresting people and bringing them before a bench of Rabbis for judgement.

This means that there is a lot of comedy about groups in New York City, humour about this Jewish community, for instance, serious young Rabbis-in-the-making, refusing to be interested in or coached in baseball – but some relent!

The screenplay was written by John Turturro, who also directs, so it is a vehicle for himself, his character, his moral behaviour, his concerns, the experience of being a local gigolo and its repercussions for himself and his moral perspective.

A different New York story.

1. A portrait of Gore Vidal? As a person, as a celebrity, influence in the United States, literature, theatre, cinema, politics, culture and style?

2. The structure of the film: the decades of Vidal’s life, the decades of American history, from the 1920s to 2010? The quotes from Vidal throughout the film, wise, aphorisms, witticisms?

3. The use of footage of Vidal, his life and career, public life, private life, television interviews? The footage for the different periods and American history and politics?

4. Vidal, aristocratic background, his father and politics, his private school education, serving in the Navy, beginning to write novels, about the war, the homosexual novel and its impact? Writing screenplays? His bid for the Senate in 1960? Involvement in politics and commentary> television discussions with William Buckley? His acerbic tone? His writing the history of the United States in novels? Moving to Italy, the beauty of his home on the coast on the cliff? His life there? His partner and his views on sexuality, active, platonic? his range of friends, in society, the locals and the staff? The death of his partner? The funeral and the grave? Vidal’s illness, having to leave, the farewells and the affection for the people in Italy? Living in the US? public appearances? Living into the Obama era?

5. The picture of American history, the 20s in the aftermath of World War I, the jazz age, wealthy families? In politics? The 1930s, the world of education? The 1940s, war, Navy action, post-war America, difficulties for those returning from war? The 1950s, Vidal and his literature, theatre, his novels? The quiet of the Eisenhower era? The 1960s, John F. Kennedy and the personal contacts, with Jackie Kennedy and the family connections? The campaign? Vidal’s own campaign and its failure? The omission of Nixon and Lyndon Johnson? The Vietnam war and Vidal’s opposition to it? The 1970s, divisions in the United States, the war and the aftermath of the war? The 1980s, Vidal and his comments on Reagan, as an actor, personality, politician? The later decades and little on the Bush administrations and Bill Clinton? Into the 21st century, his response to President’s Obama’s election?

6. The quotations, the ideas, the sharp responses? The coverage of his novels? The particular emphasis on Myra Breckenridge in the film? The film of The Best Man and its revival in the 21st century, its continued relevance?

7. The film as an American experience?

BLUE RUINS

US, 2013, 90 minutes, Colour.
Macon Blair, Devin Rattray, Amy Hargraves, Eve Plumb.
Directed by Jeffrey Saulnier.

Blue Ruins is an unexpectedly successful Gothic drama. It received quite some critical acclaim and was screened in the Director’s Fortnight at Cannes. Unfortunately, the small-budget did not lead to wide distribution, but it was seen in specialised circumstances.

The screenplay is able to lead the audience on, introducing the central character as wild and hairy, having a bath in the home of absent owners. He flees and the audience probably thinks the worst of him, scavenging in garbage for food, going to his old blue Pontiac car and living in it – but also seen reading. His name is Dwight.

When a policewoman comes to the car, we assume that he will be arrested. On the contrary, he seems to be well-known and is given information, with great sensitivity with the woman taking him to a police station, to tell him that his father and mother’s murderer is being released. We wonder what he will do.

He cuts his hair and shaves his beard, looking completely different from what he was at the beginning. He then goes and kills the ex-prisoner. This continues the feud between the family and Dwight and his family, his going to see his sister to make sure she was away from home while he waited for them to attack. In the attack, he takes one of the prisoner’s brothers and puts him in the boot his car, while he himself is wounded in the leg by an arrow – which leads to his buying equipment to sever the end of the arrow, but having to go hospital after he collapses from lack of blood.

He then continues his fight against the family because they are in pursuit. Dwight lists the help of an old school friend who gives him a gun, and saves his life when he is about to be killed. Then he has to confront the women of the family, one of them particularly vicious.

The film is well above average for this kind of drama, well written and performed, stylishly photographed and edited. Macon Blair, who appears in practically every scene, is quite persuasive as Dwight. Director, Jeffrey Saulnier, wrote, directed and photographed the film.


1. Critical acclaim? A Gothic backwoods genre film? Emphasis on character rather than horror and violence? The family feud? Vengeance? Ordinary people?

2. The title? Blue Ruins as gin cocktails? The old blue Pontiac, a ruin?

3. Small-budget, the director and his being writer, director of photography? The unknown cast?

4. The introduction to Dwight, in the house, in the bath, people coming, his running away, naked, getting dressed, scavenging for food, smelling it? Going to his car, the tent and the car, reading, sleeping? Going into the sea? His hair and beard, appearance?

5. The policewoman, coming to the car, the news about the release of the prisoner, her telling him in the police station, one-on-one so that he would not be disturbed? The mystery of the connection to the prisoner? Sending the card to his sister? His transformation, cutting his hair, shaving his beard, looking completely different?

6. The importance of his car, going to the prison, watching the release, the family welcoming the prisoner? Going to the bar, their celebration, going in, waiting in the toilet, his killing Will, the vicious stabbing, the blood spurting, on Dwight? His cutting his hand? slashing the tyre? the pursuit, taking the limousine? Discovering William in the back, letting him out, his running away?

7. The family not going to the police, keeping it in house, the nature of the feud?

8. After the killing, like travelling to see his sister, her reaction, the absence of years, the past history, the deaths of their parents, his having copy with her, confessing, hurrying back, the babysitter not answering the phone? Dwight getting his sister to leave with the children?

9. Dwight, hiding in the house, getting his sister away? Setting up the house, the darkness, the light, the water running?

10. The family group coming, the guns, the bow? Dwight being wounded in his leg? Shooting the brother? Putting him in the boot of the car? Driving? Buying equipment to remove the arrow, sawing it off? Going to the hospital, his recovery? Leaving? The stitches, his hobbling? Yet managing?

11. Seeking outt Ben, the discussions with his mother, her remembering the past? Finding Ben, at the club, his work there, their going home, discussions about the school annual, the photos? Reminiscing? Ben and the guns, the choice of the gun, the practice and Dwight not being a good shot?

12. Ben following Dwight, Dwight confronting the brother in the boot of the car, with his gun, missing him? The brother telling the truth, the fact that it was not the dead brother who had killed the parents, but the significance of the affair, the older man wanting to kill Dwight’s father because of the affair with his wife? The woman in the car by accident and dying? the reversal of roles, the brother with the gun, Ben shooting and killing him?

13. Ben giving Dwight a better gun? Dwight visiting the cemetery, his father’s grave? Waiting in the house, the women coming, William? Their taunts?

14. Telling the truth, vicious, the shootings? Dwight realising that William was his half brother? Letting William go?

15. The consequences of the murders, the feud, the continued violence and its consequences, the initial wrong leading to destruction and death? A sense of realism? Pessimism?