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?

THE NAKED AND THE DEAD

US, 1958, 132 minutes, Colour.
Aldo Ray, Cliff Robertson, Raymond Massey, Richard Jaeckel, Jerry Paris, William Campbell, Joey Bishop, James Best, L.Q.Jones, Barbara Nichols.
Directed by Roland Walsh.

The Naked and the Dead is based on the celebrated World War II novel by Norman Mailer. Mailer continued to have a significant career in succeeding decades with novels, biographies and studies of important Americans like Marilyn Monroe.

The novels by James Jones, From Here to Eternity and The Thin Red Line, and their film versions, had made a great impact on the American reading public, giving them pictures of war which were both down-to-earth, in military behaviour and relationships in Honolulu before going into action as well as meditative reflections on the meaning of war. The Naked and the Dead is in this vein.

The cast was not as high profile as in From Here to Eternity. Aldo Ray had a solid film career and was impressive as the repellent Croft in this film, racist, vicious towards women, ruthless in his leading of men, executing of Japanese soldiers, jealous towards his leader. On the other hand, Cliff Robertson as the voice of reason was at the beginning of his career and was to win an Oscar 10 years later for Charley. The other central character, the obsessive general, is played by veteran Raymond Massey, Things to Come, portraying Lincoln in and starring in East of Eden with James Dean.

The group of soldiers was played by a number of solid American character actors.

Raoul Walsh had been making films since 1913, even with Pancho Villa. He had a long and successful career, mainly directing action pictures, many of them at Warner Brothers with such stars as Humphrey Bogart. This was to be one of his final films.

1. World War II film? A film of the 1950s? Close to the experiences shown?

2. The work of James Jones and Norman Mailer, novelists of the 50s, their novels, the movies made of their novels, the interest of the public? The perceptions of war? Questioning the reasons for war? The nature of warfare and authority?

3. Norman Mailer and his career, reputation, the status of his novel, the transfer to the screen, the criticisms of its inadequacy compared with the book?

4. A big production, widescreen? The cast, the veteran director, the Panama locations for the South Pacific? Bernard Herrmann’s score?

5. The title, the military?

6. The action sequences, compared with the sequences of this period? The soldiers, the boats, infantry, under fire, the taking of hills, assaults, the use of grenades, guns? Injuries and death?

7. The philosophical discussions? The general and the discussions of power, fear, exercise of power? Authority? Power in war? The reasons? the reflections on soldiers, their service, patriotism, giving their lives? Power and the obsessive behaviour of both Croft and the general?

8. The introduction, Honolulu, the club, the soldiers, the strippers, the MPs, relationships between the soldiers and the locals?

9. The introduction to Croft, tough, in the bar, hitting the women, spitting the drink in the face of the bartender, with his men? Indication of things to come? His prejudices? The new men? Demanding that they stand to talk with him? The flashback, his relationship with the woman, her infidelity, his anger and motivation?

10. The introduction of the Jewish characters, the expressions of anti-Semitism? Later on the hill and the anti-Semitic taunt?

11. The general, as a character, the briefings, order in his room, a career military man, his strategies, admiration for the enemy and strategies? Choosing Robert as his aide, his intentions, the discussions, treatment of him, and being demanding? Wanting everything cleaned? The flowers on his desk? The issue of the cigarette butt on the floor? His speeches? His phone demands, sending Robert on the mission as punishment, the meeting, his strategy, being proven wrong? His return, the attack on his official and the initiative? The breakthrough? Talking with the wounded Robert, Robert and the discussions about power, and still disagreeing with the general?

12. Robert, military career, his father, as the general’s aide, with the men, getting the documents from the dead Japanese from Croft? Croft wanting some kind of repayment and his refusal? With the general, the arguments, his different stances on power and fear? Going on the mission, command, Croft not liking it, the attack, his being wounded, carried, wanting water, saved, his gratitude?

13. Croft, the mission, his courage, leadership, being friendly to the captured Japanese, the photo of the family, the cigarette and then killing him? Getting gold from the Japanese dead and their teeth? Orders? Gallagher and his challenging him? Going on the mission, his motivation, the anti-Semitic taunt and the soldier falling? Martinez, the deceit about the Japanese presence? climbing? Indicating that Robert should die? His going out to the field, with all the Japanese, his death?

14. The range of men, Wilson in Honolulu, Gallagher and his newborn son, Red and his defiance of Croft, the Jewish soldiers, carrying Robert back, the Baptist minister and talk of God?

15. A war film of the 1950s – how does it stand up in retrospect?

JACK IRISH: DEAD POINT

Australia, 2014, 85 minutes, Colour.
Guy Pearce, Barry Humphries, Marta Düsseldorp, Aaron Pedersen, Roy Billing, Deborah Mailman, John Jarrett, Vince Colosimo, Kat Stewart, Shane Jacobson, John Flaus, Damian Harvey, Terry Norris, Ron Falk, Tina Bursill.
Directed by Jeffrey Walker.


Peter Temple is one of Australia’s leading crime writers. One his best novels, The Broken Shore, was filmed by ABC television with great success. The ABC also participated in the production of three television movies based on Temple’s series with former lawyer, Jack Irish. The first two were screened in 2012, Black Tide, Bad Debts. This third in the series, Dead Point, screened in 2014. The three films were directed by Jeffrey Walker.

Guy Pearce is exactly right for Jack Irish. Peter Temple said that he had not imagined Jack Irish like Guy Pearce but on seeing the films, he was fully persuaded. Pearce brings Irish fully to life, his grief at the murder of his wife, his giving up the law, his becoming involved in investigations, sometimes seedy look, semi-shaven, old clothes. However, he has a sharp mind and is able to solve crimes and mysteries.

The films also boast strong casts, some of Australia’s best actors in each of the films. Martha Dusseldorp (star of the Black Jack series with Colin Friels, star of Janet King) is an on-and-of love, an ambitious journalist, with a talkback radio program. She is smart and discovers the key clue to the resolution of the mystery.

In each of the films Jack Irish pals up with two friends involved in the racing business. They are played genially by Roy Billing and in a tough manner by Aaron Peterson. This time their racing interests connect with an aboriginal councillor played by Deborah Mailman.

However, the main focus is on the stevedoring industry and the Melbourne docks, the ruthless bosses, drug smuggling and murder. Vince Colosimo is convincing as the thuggish boss. Kat Stewart is his wife who runs an exclusive, if decadent club, for politicians and highflyers in Melbourne society.

The surprise of the film is the presence of Barry Humphries as a judge who has made a judicial investigation into the waterfront and is about to present his report. However, he has tangled with a young man who has incriminating photographs in a book which has disappeared – and could be an instrument for blackmail, not only of the judge, but of another politician also involved in the investigation (Kate Beahan).

Barry Humphries, almost 80, gives a performance that is the exact opposite of Dame Edna Everage or Sir Les Patterson, more like his off-screen, radio persona, quietly spoken, cultured. It gives a great strength to the film.


1. The novels of Peter Temple? The Victorian settings, Melbourne, the police, the world of crime, politics, corruption?

2. The film versions of temples novels? Guy Pearce as Jack Irish? Age, character, past experience, marriage, the murder of his wife, his grief and having nightmares? His relationships? Friends? The racing friends, his family, the investigators, the police, the chorus at the pub?

3. The title, the ending, the climax, on the Victorian coast?

4. The use of Melbourne, the detail of the streets, the overviews, Fitzroy, Irish’s home, the local pub, the secret club, the church, the Melbourne docks? The musical score?

5. Guy Pearce and his screen presence, Irish’s personality, the law, going out of the law, his range of contacts, discussions with Barry and information, Harry and Cam, the racing sequences, and Cam handy with protection and fists?

6. The Melbourne docks, the police corruption, the car with the drugs, the stealing of the drugs, the death and its being faked, the documentation? The motivation?

7. The opening, Sienna, her relationship with Rob, his being absent, her looking at his book, the photos? Her work at the club, the meetings with Jack, the information, the cameras photographing it? Meeting Jack at the pub? Future information, her death? her body in the boot of Jack’s car, his being framed?

8. Linda, the past relationship with Jack, her work on the radio, talkback, the politician and the judicial enquiry, the questions and her walking out? Jack and his funny voices, her knowing that it was Jack? Her relationship with Jack, resuming? Wanting a scoop? Living with Jack, the sexual relationship? Her knowing the past? Her watching the video, recognising the lighthouse? Present at the end, phoning Jack, the judge coming to present the report?

9. The chorus of the pub mates, in each of the films, their comments, the football, at the match, barracking, the post-mortem? Stan, his wanting to go upmarket with his menus and his machines?

10. Harry and Cam, the visit, the proposition, going to see Cynthia, the aboriginal background, her house, the kids, the mess? Her good tip? Going to the racecourse? The people delivering the cash after the win? Harry and Cam watching on television? The attack on the tunnel, her being robbed, injured? Artie and Lizard, being identified? Marie, taking the drugs, her telling the truth? Jack and Cam visiting Artie, pouring the stuff on him in the car, Lizard telling the truth and giving back the money? The visit to Cynthia in hospital, her getting back home?

11. The judge, Jack’s father-in-law? His grief at his daughter’s death? Elle, the baby, the invitation to Jack to come to the christening, giving her the name, Isabelle? Jack meeting the judge in the church, the discussions, the judge explaining his indiscretion, his urges and giving in? His needing the book? His relationship with Robbie, giving him the camera? The enquiry, the fears the his family, their being hurt by the revelations, becoming desperate? At the christening, at home alone, the phone call to Jack, depending on him? His decision – and his coming in to give the report?

12. Barry, a slob, enjoying eating, at the pub, giving Jack the information, searching it out? the corrupt policeman? Jack giving the information? Jack in jail after the framing, the contacts, getting free? The arrest of the corrupt policeman?

13. The club, the clients, affluent, decadent, Ros and her running the club, Sienna as one of the girls, Ros offering to help?

14. Mike, at the wharves, the talk with Jack, the threat of the container falling?

15. Jack, going to the lighthouse, phoning Susan and Rob, her behaviour in the video, her resignation from the enquiry, the truth, falling in love? The helicopter, Mike and Ros, the shooting Susan and Robbie? Jack being shot, getting the car, getting the book, crashing into the helicopter?

16. The resolution? The enquiry? The background of enquiries into docks and unions and management, drugs and corruption?

17. A well-made television movie, interesting and entertaining? Australian?

MINISCULE: THE VALLEY OF THE LOST ANTS.

France, 2013, 89 minutes, Colour.
Directed by Helene Giraud, Thomas Szabo.

This is a pleasing film, mainly for little children, and for their parents accompanying them who would be able to explain some of the details about insects.

It is also an example of French animation, based on the television series of 2006, Miniscule. The animation is fairly straightforward, but very attractive. Much is made of the beautiful French countryside, the mountains, the grass on the hills, the trees and woods, the roads through the mountains. It is only at the beginning that any humans appear, a husband and wife having a picnic on the grass, she heavily pregnant. During the meal, labour pains come on and they have to hurry away in their car, leaving some of the picnic goods on the blanket on the grass.

In the meantime, we are treated to the birth of little ladybirds, their parents looking on, helping them to flex their wings and then urging them on to fly. One of the ladybirds becomes one of the main characters for this film.

With the food left of the blanket, especially a box of sugar cubes, it is a signal for the insects to come out. On the good side, are the black ants. The film, like a documentary, shows great deal about the ants, their size, the hierarchy and command, the ants working as a group, in unison, scenes of their marching, going over the ground, finding the sugar, the attempts to carry it and take it back to their nest. The plot shows the ladybird becoming friendly with one of the ants.

On the villainous are the red ants. Once again, the film shows them in great detail, their nest, their working together, their leadership, the approach to the sugar. The film builds up to a clash, but the Ladybird and the little black and are able to thwart the ambitions of the red ants.

This is the kind of story and documentary that nature channels show on television. And, the real thing is probably more persuasive than an animation story. However, for little children, the animation and the story will capture their imagination and help them in their discovery of the world of insects and their place in the world of nature.

THE RAID 2

Indonesia, 2013, 148 minutes,Colour.
Iko Uweis.
Directed by Gareth Evans.


The Raid was an extraordinary box office success right around the world. Director, Gareth Evans, had moved to Indonesia and begun making feature films. With The Raid, he put the Indonesian film industry on the map. Which meant that the sequel was inevitable. Here it is.

The hero of the original film, Rama (Iko Uweis) is a martial arts champion, discovered by the director and used as the protagonist of his film as well is of this sequel. Iko Uweis also appeared in Keanu Reeves’ martial arts film, The Man of Tai Chi.

The first film was strongly focused, most of the action taking place in the one building after the police squads arrived and moved throughout the building to confront thugs and gangsters. The screenplay offered a great number of opportunities for frequent fights. Sometimes the violence of the action was marked by many touches of brutality. This made the film offputting for some audiences.

This film opens on the same day as the first film ends, with the prologue showing an execution in the countryside and indication that gang warfare was building up. The chief of the operation chooses Rama to go undercover and infiltrate the major gang. Worried about the security of his wife and family, Rama nevertheless obeys orders, is convicted of a crime, goes to prison where he encounters the son of the gang boss.

The Raid 2 is reminiscent of themes of The Godfather films as well as of stories of agents going undercover, like Donnie Brasco.

When Rama is released, he is given a job by the Indonesian Godfather and has to keep an eye on the man’s son who is reckless and ambitious, wanting to take over from his father, in league with leaders of other gangs, antagonising Japanese gangs in the country.

While the plot outline is familiar enough, Rama is quite an interesting character, taking the opportunity, almost every 15 minutes in this 2 ½ hour film, to get involved in a tough fight, sometimes one-on-one, sometimes demolishing a whole gang. Various assassins turn up, an old assassin-retainer of the gang and a hammer-wilding blind woman. The Godfather plot is also interesting, the head of the Indonesian Mafia-type family being urbane and suave, in control for 30 years, yet absolutely ruthless.

The film highlights the danger for Rama undercover, his need to check on the security of his family, his contacts with the chief who generally leaves him on his own.

In the climax, the son and the leader of a rival gang as well as a politician who is dining with them bargaining to get athe bigger payoff, feel secure from any attack. They have underestimated Rama who, though wounded, is able to get through a gang of thugs as well as the son’s main hired assassin and there is, as might be expected, slaughter all-round before the happy ending and the need for The Raid 3.

1. The impact of the original film? Worldwide? Popularity for a sequel?


2. The initial film’s reputation as an action film, martial arts, stud work? Violence?

3. An Indonesian film, British director, the flavour of Indonesia, the cities, crime, the police?

4. The sets, police precincts, prisons, gangsters’ offices, restaurants? The rousing score?

5. The impact of the action, the stud work, fights every 15 minutes also?

6. The prophet of the police, corruption within the police, officials and their connections with gangsters, payments, deals with gangsters? Honest police wanting to root out the corruption?

7. The opening, the execution in the countryside? Indication of the gang warfare?

8. Rama, his role in the first film, police work, action? the chief choosing him to go undercover? His wife, child, his continued concern for their security?

9. The chief, keeping in touch with Rama, control? His phone calls?

10. The plan, his crime, going underground, in the prison, the details of life in prison? Bangun and his son, the son in prison, his crime, throwing his weight
around, influence?

11. Getting out of jail, the offer of the job, the interview with Bangun, Rama being stripped, his clothes searched, his gaining approval?

12. Bangun and his trust, the lavish apartment, the assistants to Bangun, suave officials? The irony of the man undercover as well, whether he had been
corrupted or not?

13. Rama, accompanying the son, his contacts? The father, as an Indonesian godfather, 30 years, extensive control, suave in manner, clothes, his empire? The son and his impetuousness, wanting to take over?

14. The rival head of the gang, approaching the son, the plans?

15. The old assassin, 15 years, devoted to the boss, giving his wife cash, her not wanting to see him? His assassinations, his being stalked, murdered?

16. The feud, the meeting between the gangs, the son killing his father, his father’s shock?


17. The Japanese gang, reactions, attempts to deal with the boss, insulted by the son?

18. Rama, his work, protection, advice, the fights?

19. The final meeting, the son and the rival boss, the discussions and plans, the guards the fights, the murderous guard and the long fight with Rama, his being wounded, fighting nonetheless?

20. The son and his death, the rival at his death? The death of the police official on the take, while trying to deal with both gangs and get more money?

21. Rama, emerging as a hero – and the necessity for a sequel?

PARACHUTE BATTALION

US, 1941, 75 minutes, Black and white.
Robert Preston, Edmond O’ Brien, Buddy Ebsen, Harry Carey, Nancy Kelly, Paul Kelly, Richard Cromwell, Robert Barrat.
Directed by Lesley Goodwins.


Parachute Battalion was produced in 1941 and released later that year, some months before the attack on Pearl Harbor. The war in Europe had been waging for two years already. This film shows the military concerns of the United States at this time.

The film is more interesting and entertaining than might have been expected. It shows the Parachute Battalion, the choice of men, the details of the training, the workings of the parachutes, the jumps, the apprehensions. To this extent the film served as a recruiting poster in its time.

The film has the advantage of the strong cast led by Robert Preston in his debonair, ladies’ man type of role. The serious role is reserved for Edmund O’ Brien. The third in the trio of recruits is Buddy Ebsen as a backwoods man, but drawing on his talent for dancing, as seen in many musicals, in a routine in the men’s quarters. Harry Carey is very genial as the veteran and champion of World War I, the trainer of the men. Paul Kelly is the sergeant in charge. Nancy Kelly is the daughter of the veteran and the romantic interest. Richard Cromwell is the fearful coward. Robert Barrat as the chief also featured in The Life of Emile Zola as the traitor Esterhazy.

While the film is very much of its time, it is interesting to go back to the atmosphere of 1941, especially the military preparations which would be used in World War II.


1. The impact of the film in its time, the military traditions after World War I, during the 1930s, preparations for war, military planning? The Parachute Battalion?

2. The brief running time, the strong cast, the writing, the action sequences? Musical score?

3. The title, the focus on the group? The introduction to the three young men, Don and his being the All-American?, sports, engaged two women, his father’s exasperation, his solution to the wedding situation by joining the military? Bill, serious, joining up, his getting drunk, his relationship with his father, his poor self-image? The contrast with Jeff, at home, his parents, the farm, in the hills? The family feud with the Collins family?

4. On the train, Jeff losing his shoe, Don trying to locate the owner, encountering Kit, her father, Bill and Jeff joining him, their flirting, the father’s reaction?

5. Arrival, uniforms, big boots for Jeff, assembly, the shock at seeing Kit’s father? The dormitory, bunks? Digging the pit? Spence and his antagonism?

6. The details of the training, the explanations about how parachutes worked, the second parachute? Folding the parachutes? The need for being exact? The demonstrations? The dummy falling from the plane, crashing, Bill and his not packing correctly?

7. Time off, the meetings with Kit, Don and his attraction, charm? Bill, earnest, in love with Kit? Kit’s father favouring him? The date, the dancing? Don and his pretending to be searching for the address, the encounters with Kit’s father?

8. The build-up to the first jump, nervousness, Don’s success? Spence and his fears, confiding in Bill, wanting the extra pay, pulling the gun, the confrontation, Bill getting the gun from him? Bill wanting the transfer, the letter, his decision to jump? Success?

9. The chief, the fact that Bill was his son, memories with Thunderhead, his name? Bill being treated in ordinary fashion, eventually meeting his father, his wanting to pull out?

10. The men and their acclaim for Bill and his courage? The parachute jump, with Thunderhead, in the water, the rescue, Thunder head in hospital, pretending, proud of his men, Bill’s visit?

11. Bill and Don, the rivalry over Kit, the fight? The special flight, Don getting caught on the wing, Bill rescuing him, their fall together?

12. The awards, Bill and his father, pride? Meeting Kit, Thunderhead approving, and Don following another girl?

13. Popular ingredients at the time, serious, comic touches, romance? And US propaganda?

BOUNCE

US, 2000, 108 minutes, Colour.
Ben Affleck,Gwyneth Paltrow, Joe Morton, Tony Goldwyn, Jennifer Grey, Caroline Aaron, David Dorfman, Alex D. Linz., Johnny Galecki.
Directed by Don Roos.


They still make romantic dramas. Advertising executive Ben Affleck is stranded in Chicago by snow, then gives up his ticket to a chance acquaintance. When the plane crashes, he is riddled with guilt and goes on alcoholic binges. Later, he tracks down the widow, wanting to give her some business to help her with her family.

Yes, you've guessed what happens (more or less). If only men would tell the truth straightaway, life's dramas would be different and less hurtful. The widow is played by Gwyneth Paltrow, so this is a classy, if familiar, new-fashioned old-fashioned romance.


1. An old style romance? 21st century style? Issues, characters, situations?

2. Chicago airport, LA X, Los Angeles settings, the world of advertising, real estate, television awards, restaurants, offices? Palm Springs? The coast on the beach? Realism? The musical score?

3. The title, Abby’s mother and urging people to bounce back after grief? Easy to say, not in practice?

4. The opening at the airport, the snow, closing the airport, the single flight to Los Angeles, issues of fate, destiny, consequences and effects?

5. Buddy at the airport, his personal style, self-centred, drinking, mocking Greg and the play’s failure, in the video? With Greg, anxious, ringing home, concerned about his wife, the failure of the play? Mimi and her kindness about the play? Buddy giving him the ticket, his decision to go? The airport official, the past friendship with Buddy, letting Greg through?

6. The crash, the effect? Buddy’s arrival, with Jim, his guilt, drinking, the campaign and the meetings, the airline companiy’s apologies, stories of those who died? Buddy and his cynical attitudes? The awards, winning, his speech, drunk, behaviour? The reaction of Jim and the officials?

7. His going to Palm Springs, AA, his return, his assistant, commenting on his behaviour, work, gay? The cracks? Buddy becoming involved in work again, the campaigns?

8. Abby, worried about her husband and the plane, watching the television, with her mother, the boys? The messengers coming to the door, the news, her grief? Not accepting his death, pretending she was divorced? Referring to him as her ex and yet the loving words? Her real estate work, the office, Buddy coming to see her, their talking, his lies, the cup of coffee?

9. Buddy and he is getting her to manage the sale, the paperwork, Jim visiting the office, the deal, her ideas about payment, her gratitude?

10. Buddy, meeting Abby again, the phone calls, the dates, with the boys, their hesitation? The kiss? Going to Palm Springs, the water tunnel with the boys, bonding with them? The sexual encounter? Abby telling the truth about her marriage, love Greg? Buddy about to tell the truth but not doing it?

11. His assistant, not holding the calls, fostering the relationship?

12. The effect on Buddy, happy, not drinking?

13. Mimi’s arrival, giving the video to Abby, the effect, Buddy’s arrival, the boys and the video, Abby very angry, yet wanting him to say goodbye to the boys that they would not have another loss?

14. The trial, Jim and his persuading Buddy as to what he should say, not say? The account of the trip, the deceit, in court? Buddy changing, telling the story? Apologising? Abby watching? Her mother?

15. Abby and her concern about her relationship with Buddy, the consequence of Greg dying?

16. Buddy selling the house, the apology, Abby’s visit, asking her to help with the sale? The bond between them? Happy ending?