AFTER.LIFE

US, 2009, 104 minutes, Colour.
Liam Neeson, Christina Ricci, Justin Long, Josh Charles, Celia Weston, Chandler Canterbury.
Directed by Agnieszka Wojtowicsz- Vosloo.

After.life seems unusual vehicle for Liam Neeson. He plays the manager of a funeral parlour and has a special gift of being able to talk with and communicate with the dead. While the film is presented with a great deal of realism, audiences will be wondering whether this is real, fantasy, in the imagination of the director of the parlour, in the imagination of the dead woman. The film was not clear in where it stands on the nature of the afterlife, the experience of death, purgatory real experiences – and leave this to the puzzling out of the audience.

Liam Neeson is his reserved self, quiet, good-mannered, yet intense in his conversations with the dead young woman. She is played by Christina Ricci, who has some moments in real life, in her teaching, at a restaurant and the proposal by Paul (Justin Long). However she is involved in a car crash and dies only to find herself lying on the slab in the funeral parlour, awake, puzzled, trying to deal with the manager and his discussions with her. He even offers her the opportunity to go and make something of a life, but she hesitates and does not go out.

There is also a little boy from school who seems to have a similar kind of gift of communicating with the dead.

Perhaps the film promises more than it offers, not giving any explanation of the nature of this life after death, using some conventions of horror movies – but not in any major heightened or sensationalised way.

1. The title, the significance of the dot? Expectations?


2. A small American town, the burial parlour, the school, restaurants? Atmosphere of realism? The musical score?

3. The blend of horror elements, philosophy, moralising?

4. The introduction to Elliot Deacon and his work? At the funeral parlour? Alone?

5. Anna’s story, as a teacher, her work in the classroom, friendship with Jack? Relationship with Paul, love, her fears, at the restaurant, his proposal and her leaving, upset? Her attending the funeral of her teacher, with his wife, her knowledge of the funeral parlour? The crash?

6. Anna as dead, at the parlour, her red dress, the wound on her head, waking, finding herself in the death situation? The discussions with Elliot? Her attempted escape, the locked door, her anger and smashing his room, getting out into the corridors, hiding, phoning Paul? The visit of her mother, of Paul, wanting to know whether they wept? At the window and Jack seeing her? The black dress for her funeral? Elliot and the injections, the policeman visiting his brother and wanting to look at her? The viewing, Paul and his kiss, the burial, the wake, her seemingly buried alive and scratching at the top of the coffin?

7. The blend of realism and fantasy? Was Anna really dead? Dreaming? Purgatory story? The story of the experience of death and the transition to the afterlife?

8. Elliot, his work, manner, his gift, seeing Anna at the first funeral, his talk with her, his character, his courtesy to visitors, the policeman and his prurience and ousting him? Jack and his sharing with him? at the parlour, at the grave? Meeting Paul, urging him away, Anna’s mother?

9. The discussions between Anna and Elliot, her experience, non-belief, growing desperation, Elliot offering her the chance to go out, her standing at the door and not taking it? Elliot and the seemingly normal discussions, about her life, his talking to the other dead people, his reaction to Anna and commenting that that was what everyone said, offering opportunities for life? Saying people were not dead but that there was no life in them? His reaction to her hiding, the phone call, his anger at the mess she made?

10. The old lady, the make up, appearing to Anna?

11. Jack, liking Anna, seeing her at the window, the flower, discussions with Elliot, about his gift, at the grave? At school, his talking to Paul, Paul’s attack on
him?

12. Paul, his character, busy with his job, love for Anna, the meal, his being upset, her death, trying to see her at the funeral parlour, his garish nightmare? Going to the police, discussions with Tom, the policeman whose brother had died, his desperation, the kiss at the funeral? His grief? His talking with Jack, his attacking him, the police reaction?

13. Anna’s mother, haughty, self-contained, visiting the body, grief the funeral?

14. The police, Paul and Tom, their friendship, Tom unable to do anything?

15. What was the film discussing about the nature of death, the meaning of life, life after death, an interim period to be ready for the afterlife? People with special gifts, conversing with the dead?

SHERLOCK: THE EMPTY HEARSE

UK, 2014, 90 minutes, Colour.
Benedict Cumberbatch, Martin Freeman, Mark Gattiss, Una Stubbs.
Directed by Jeremy Lovering.

Sherlock: The Empty Hearse begins the third television series of the updating of Sherlock Holmes to the present, stirring Benedict Cumberbatch as Holmes and Martin Freeman as Dr Watson. Mark Gatiss, one of the creators of the series, appears as Mycroft Holmes.

The second series ended with the seeming death of Holmes, falling from a high building. Dr Watson was a witness to Holmes’ death and has now spent two years grieving. Of course, Holmes did not die and this film visualises several hypotheses of how the death was faked. In the meantime, Holmes had spent several years in Serbia and we see him tortured, being rescued by his brother, brought to London to uncover a terrorist plot in the Parliament.

One of the main difficulties is his revealing himself again to Watson, a difficult experience for both of them. Gradually, Watson is drawn into Holmes’s work and they discover a bomb under Parliament house in a disused underground station.

But the film leaves open whether Moriarty has gone and whether Holmes will confront him again.

1. The popularity of this series of telemovies, the modernisation of Conan Doyle, the cast, the stories, based on Doyle?

2. The third series? The cliffhanger with the seeming death of Holmes?

3. The possible theories of what happened, their being visualised, Holmes falling, the rope saving him, falling on the mattress, the kiss with Moriarty, the
role of Dr Watson, shielding his view, his collapse?

4. The effect of Holmes’ death on Watson, the two years of grief, his continued upset, moving out of Baker Street, the gay jokes and illusions, his reaction, continuing his work, Mary at reception, in love, the meetings with Mary, the proposals?

5. Mrs Hudson, at the house, Dr Watson leaving, Holmes return and her joy?

6. Holmes in Serbia, the interrogation, the torture, his release? The role of Mycroft? His job with terrorism in London? The discussions, reminiscences about their childhood, their family?

7. The problem of how to tell Dr Watson about his survival? Posing as the waiter, Watson not noticing, the revelation, Watson’s reaction, anger, grief? The long time taken for Watson to settle down? The discussions? Mary and her reaction, liking Holmes?

8. The terrace situation in London, the suspect, his work in North Korea?

9. Holmes and his contacts, keeping a check on them, wanting to see if there was anything abnormal?

10. Watson, his return to Baker Street, his love of adventure, telling Holmes stories, his joining again?

11. The reality of those in the know about home survival, so many? Molly and her taking Watson’s place? Helping Holmes in his cases?

12. The bomb, the mystery of the underground, the contact and his explanation, the empty train, the sealed up station, Sumatra Street? Holmes and Watson, the timing, Watson asking Holmes to use his encyclopaedic memory for defusing the bomb, desperation, the passing of time? Holmes playing a joke on Watson, defusing the bomb?

13. The arrest of the parliamentarian? The solving of the case? Holmes and Watson ready for further adventures, and the audience ready with them?

POWER GAMES: THE PACKER-MURDOCH STORY

Australia, 2013, 180 minutes, Colour.
Lachy Hulme, Patrick Brammal, Leon Ford, Alexander England, Heather Mitchell, Maeve Dermody, Anne Looby, Bruce Myles, Lewis Fitz- Gerald.
Directed by Geoff Bennett, David Caesar.

Power Games reflects the interest in the Australian community in the history of media in the country, especially with the wars between the Packer family and Rupert Murdoch.

Other miniseries focusing on these characters included Paper Giants with a focus on Ita Buttrose and the foundation of Cleo; Magazine Wars, the clash between Dulcie Bolling and Nene King, editors of the Women’s Weekly and Women’s Day. On another Packer intervention, there was a series Howzat! on the establishment of one day cricket.

Lachy Hulme had appeared as Kerry Packer in Howzat! and this time appears as Kerry Packer’s father, Sir Frank Packer. He offers quite a fascinating portrait of the media magnate, a man of his time, perhaps stuck in his time, interested in money and deals, focusing on newspapers, especially the Sydney Daily Telegraph, but moving into television with Channel 9, that he did not understand how it worked very well.
Then there was the clash with the seeming upstart, Rupert Murdoch, relying on the reputation of his father Sir Keith Murdoch and his mother Dame Elisabeth Murdoch. Though Packer outwitted Murdoch several times, Murdoch emerged as the clear winner – and for many decades later. Patrick Bramall appears as Murdoch.

An interesting cast rounds out the Packer and the Murdoch families, including Leon Ford as Kerry Packer, struggling with his father who belittled him and his brother, Clyde, Heather Mitchell as his mother, Maeve Dermody as Anna Murdoch.

Were the struggle between the two magnates fiction, it would be fascinating. But, as it is fact, it is even more fascinating, especially to Australian audiences and world audiences who have felt the impact of Rupert Murdoch.

1. Audience interest in the characters? The Packers, Rupert Murdoch? Origins and history? The 1950s to the 1980s?

2. A film for television, for the television audience? Style? The strong cast, awards?

3. Recreation of the period, costumes and decor? The media of the period? The musical score, songs?

4. Australia in the 1950s? Media ownership? Frank Packer and the Telegraph, Channel 9? The development? Television and newspapers? The emergence of The Australian? The 1960s and expansion? Murdoch and local papers, beginning his empire? The use of idle presses? Advertising?

5. Frank Packer and his presumptions, creating his empire? His relationship with his wife, her illness? The contacts with politicians, with Robert Menzies? His social status? The racetrack? Wanting to watch the races on television at any time he liked? The importance of family, his sons, their working in the company, his continually belittling them?

6. Rupert Murdoch, the importance of his parents, his reputation? Setting up The Australian? Moving to Sydney, buying the local papers? The Packer invitation for him to play tennis and seeing him as an upstart? Murdoch’s first wife, his neglecting her? Their daughter? His ambitions?

7. The portrait of Frank Packer, his age, health, bumptious in manner, political influence, Menzies, Gorton, Mc Mahon, Whitlam? His money and his deals? Rivalry and competitiveness, wanting to win? His care for his wife? Finding the dog, calling him Henry, his pet, his devotion to Henry? His second marriage and companionship with Florence? His two sons, his treatment of them? paper production, programmes on Channel 9, manipulating staff strikes? Attitude towards Murdoch, getting him ono the board, yet tricking him with a meeting while Murdoch was on his honeymoon, sales? Meetings? Meeting Gorton, taking on Mc Mahon, wanting him trained the television? Wary of Whitlam? His final illnesses, any mellowing? His disappointment with Clyde’s decisions? Reliance on Kerry? His heritage?

8. The portrait of Rupert Murdoch, the reputation of his parents, a young man, setting up The Australian, buying the Sydney papers? His family, neglect of his wife, her wanting to join him in his work, socials? The daughter? The meeting with Anna, the attraction, her talents? The marriage? The honeymoon? His gambling with family money, with his life? Shrewd, the use of printing presses, local papers, on the border Channel 9, his being tricked, his attitude towards the strike and realising what Frank Packer was doing? Buying the Telegraph? The audience knowing his subsequent history? Liking or disliking him?

9. The portrait of the sons, Clyde, older, freer, phone calls and deals, his attraction to the hippie lifestyle, sexuality, separation from his wife, television interests, plans, clashes with his father, giving up? Kerry more like his father, bumptious, work in the company, the jobs, shrewd about the strike, discussions with Alan Reid, his business sense, not drinking, but a gambler? His marriage, his son? The discussions with Clyde? His being belittled by his father, his reactions? Finally becoming like his father?

10. Frank Packer’s first wife, putting up with him, her sons, the final illness and death? His second wife? Murdoch and his wives, love – and the subsequent history?

11. The portrait of the staff, poor salaries, Alan Reid and his leftist stances, good reporter, his advice to Kerry?

12. The political background, Menzies and the deals, Holt and his losing his life, meeting Gorton, deciding on Billy Mc Mahon, the meeting with him and
Sonia, training him for the television and his poor response? Gough Whitlam winning? Rupert Murdoch supporting him – but Whitlam not answering his phone to Murdoch?

13. Murdoch, the UK, going over, buying the News of the World, the platform for his advances? The Packers and their more insular approach and missing
out?

14. Audiences learning about Australian history, the Packers, Murdoch, Australian media through this medium of a telemovie?

KREUZWEG/ STATIONS OF THE CROSS

Germany, 2014, 107 minutes, Colour.
Lea Van Acken, Franziska Weisz.
Directed by Dietrich Bruggermann.


This is a film of particular Catholic interest.


The title, of course, refers to the traditional devotion to the passion of Jesus, the Way of the Cross, 14 steps of contemplation from Jesus being condemned to death by Pontius Pilate to his burial. (In more recent times, Pope John Paul II added a further contemplation of the resurrection.)

This German film, screened at the 2014 Berlinale, winning the main jury prize for screenplay and the ecumenical award in the main Competition.

The film opens with a priest, young, clerically dressed, teaching five children about the sacrament of Confirmation which they are about to receive. His words are plain and clear. He then says to them that the church has had 2000 years of tradition – and then asserts that along came the Second Vatican Council which ruined everything. He is critical of such things as Communion in the hand, female altar servers, music, a worldly spirituality.

We are being taken into the life of a group which resembles the Society of St Pius X, followers of Archbishop Marcel Lefebvre, here called the Society of St Paul. What the film has to offer is a portrait, according to the writer-directors, of a traditionalist Catholic Church, often extreme in its attitudes, fostering an austere spirituality, an isolation from the mainstream which it fears and condemns.

At the centre of the film is the young girl, Maria, part of the Confirmation class. She is urged by the priest to greater holiness, her hoping that she could be a saint. But this requires a great deal of asceticism on her part, not protecting herself against the cold, not eating, much praying – with the motivation that her little brother, who has not spoken, will be able to speak because of her mortification. Maria becomes the character who goes on her own stations of the cross. This is emphasised by the priest who points out that the children are now to become warriors of Christ, warriors for Christ, battling themselves and evil in the world. To be fair, he does point out that the children’s battle is also for good in the world.

In this way Maria becomes a Christ-figure, following the pattern of Jesus in his suffering. While there is some talk of heaven, it really does not loom large in the horizons of the Society of St Paul. This is made very clear in a powerful confession sequence, where she talks frankly about herself from the perspective of a young girl, and allows herself to be questioned about all kinds of issues, including sexual temptation.

One of the features of depiction of Christ-figures is the selection of characteristics of the Jesus of the Gospels for understanding the parallel character. The depiction is a challenge to appreciate what criteria are important to the viewer in establishing a Christ-figure, what is included, what is not included.


Maria is an intelligent girl and makes friends with a boy at her school who invites her to sing in the choir at his own church. She is tempted, but his choir includes some rock music and her mother is horrified. In fact, the film’s focus on Maria’s mother shows us a woman who is extremely rigid in her perspectives, fearful of temptations in her daughter’s life, very critical of her when they walk in the mountains, go shopping, buy a dress for her Confirmation, humiliating her at the table after Maria pretends that her friend is a girl and then confesses and admits this to the family.

This means that the audience is very sympathetic to Maria while not understanding the devotion in her motivations. It also means that the audience is quite unsympathetic to the mother, even at the end when she is so haughtily hostile to the doctors and nurses, but decides that her little girl is a saint and should be beatified. In these days of awareness of abuse of children, psychologically as well as sexual, it appears that the training of Maria, the encouraging of her penances, assuming that she understands these matters as an adult, is a warning against spiritual abuse.

Mainstream Catholics and mainstream Christians will be dismayed at this particular portrait of Catholicism, its joylessness, its awareness of God as punishing more than loving, its focus on the sufferings of Jesus without looking to the resurrection, its rigidity of belief, intellectual understanding of faith without a personal pastoral dimension. Life is governed by puritanical attitudes in the Jansenist traidition in the Catholic church.


There is one friendly character in the film, the au pair from France, Bernadette, who brings to the household something of a more humane and sympathetic perspective on life, a support for Maria, offering some alternative way of looking at life, Maria relying on her more than the mother that she strictly obeys. It is Bernadette who speaks positively of Heaven and love for the Father, Jesus and the Holy Spirit.

One caution. Catholic viewers may be taken aback at a scene in the hospital where Maria expresses a desire for Communion. The priest brings the host but Maria cannot swallow it and it has detrimental effects on her breathing – and the nurse, matter-of-factly, simply takes the host out of her mouth and puts it on a towel. The scene is to highlight the unreality of the members of the sect in terms of illness and treatment.

There is a Spanish film of 2010, Camino, which has some similarities to Kreuzweg, the story of a little girl who is ill, a member of Opus Dei as is her family, who are unrealistic in her medical treatment, even brutal in their devout approach to religion, wanting her to be a saint.

Members of the society of St Pius X may find the film too critical, but mainstream viewers will find that this particular community, its beliefs and its spiritual practices are brought to life.


1. The title? Audience knowledge of the Stations of the Cross? The mystery of Jesus suffering?

2. Each of the stations named explicitly, an opportunity for audiences to learn about the Stations of the Cross?

3. Catholic sensibilities? The nature of the church, its history over 2000 years, traditions? The reforms of the Second Vatican Council? The development of traditionalist groups and beliefs? Anti- Vatican 2? Fundamentalist interpretation of scripture? A grim perception of human nature, evil and sinfulness? The role of Satan, temptation, sin? Audience sympathy for this cult? Sympathy for the church? 21st century perceptions of Catholicism?

4. The German setting, the town, the home, school, the church, the hospital, the beauty of the countryside?

5. The musical score, the religious motifs, the range of songs, Gregorian Chant, rock?

6. The structure: the 14 stations, the focus on Jesus, Marie becoming more like Jesus, the suffering Jesus? The spirituality of the cross, self-sacrifice, expiation for sins, personal mortification and asceticism? Identifying with the suffering Jesus? This being encouraged, especially in the Society of St Paul? Father Weber and his convictions? His words, urging Maria on to sanctity?

7. Though resurrection theology or spirituality – but talk about Purgatory, hell, heaven?

8. The style of the film? The majority of the stations being done in single takes, up to 10 minutes? The impact? Action within the frame? The audiences concentrating? The contrast with the active sequences, the walk in the mountains, the gymnasium at school?

9. The importance of the first station: the single take, Father Weber at the table, centre, young, clerically dressed? The mention of the Society of St Paul? The parallel with the Society of St Pius X? Both French foundations? The subject of Confirmation, asking the children to write a list of what they liked? The later discussion of the list? The discussion of the sacraments, the orthodoxy, the children and their earnestness, Maria wanting to answer every question? The anti-worldliness? Confirmation and the children becoming warriors of Christ? Struggle with self, supporting neighbours, no matter what, the challenge to convert the world? Baptism? Leading to confirmation?

10. Father Weber, anti- Vatican 2? Saying that the council had destroyed the church? The stances against worldly music? Leading to sin? Rhythms and movements? The Satanic lyrics?

11. The family, Maria and her concerns, especially with her younger brother and healing? The private talks with Father Weber? The tone of martyrdom, suffering, the reference to other saints and young martyrs? The walk in the countryside with the family group, Bernadette as au pair? Maria taking off her coat, the cold, carrying Johan and the stain on her coat, her mother upset? Discussions with Bernadette? Praying with her? The mother wanting the photo, Tom and his running around with his telescope? Maria not wanting to be photographed, not wanting to be vain? The mother demanding, the father acceding, the other children? The two photos? The mother and her severity and for so many things on Maria? Putting her down? Targeting her?

12. The further stations across? The school scene, the library and the irritated young man, Christian and his attraction to Maria, the discussions, maths, the elaborate problems? The discussion about choir? Christian’s invitation, the issue of soul music and rock? Don Bosco church? The possibility of going? Maria late, her mother picking her up in the car, lying to her mother about what she did in the library, making up the friend Rebecca instead of Christian? The mother and the choir, severity about music, dancing and Satan, wanting Father Weber to start his own choir instead? The mother elaborating on who could do this? The issue of the dress the confirmation, gradually revealing some of the party afterwards?

13. The mother urging Maria to confession, the single take, the close-up? The atmosphere of the confessional and its being enclosed? Maria and her sins, Father Weber probing, sermonising, wanting more, leading to sexual issues, Maria confessing her lies, explanation, vanity, the attraction to Christian? Father Weber and his questioning her self-worth? Feeling down? The effect of the confession? Her mother and her attack, about the lies, the issue of psychological abuse of children in confession?

14. The meal, Bernadette, the mother telling her not to intervene, the father saying grace – but little else? Maria confessing about the lie, her mother attacking her, twisting things? Maria sobbing? Getting control, continuing the meal?

15. Maria continuing to be unwell, not eating, playing with Johan, setting the table? Christian’s phone call, her mother’s taunts, criticising her for not supervising Johan and setting the table? Her job?

16. Maria at school, the gym, the contemporary music, refusing to run, the teacher and the issues of tolerance, the boys running backwards, mocking Maria? Urging her to be tolerant of them? The teacher and her support of Maria? Christian and his observations, the talk afterwards, Maria liking him but advising him to go?

17. The confirmation, the hymn to the Trinity, the congregation, the Bishop, Father Weber attending, the initial confirmations, the words of the Bishop, the slap, Maria coming forward, collapsing?

18. Maria ill, with the doctor, the stripping and the relevance with the station of the cross? The tests, the doctrine the sympathy? The occasion and her mother, absolute harshness, demanding her rights, feeling insulted? The doctor calling in a witness? The prescriptions? The doctor saying the mother was the guardian and having to warn her about her daughter’s health? The mother walking out with Maria?

19. Maria in hospital, Bernadette coming and Maria expressing her admiration for her, comparisons? The doctor, his treatment? Maria wanting Communion, Father Weber coming, her being unable to swallow, the nurse taking the host out of her mouth? The mother’s reaction? The matter-of-factness of the nurses?

20. Maria and her willingness to give her life for Johan, his speaking as she died?

21. Maria’s death, her mother’s reaction, intervening, the father not? The mother and her rationalising of Maria’s illness, the sanctification, Johan’s miracle? Her talking of introducing the cause of the beatification? Her firm will finally breaking down and weeping?

22. The funeral, seeing the men filling in the grave? The crosses? The boy, Christian, his walk at the end?

23. The morbid spirituality of the Society, on human nature, sin, hell, expectations of hell? The effect that this has children? 14, impressionable? The reminder of the traditional stories of the saints, like St Agnes and St Maria Goretti? Audience wariness about these traditional and hagiographical stories?

24. What was the audience left with? Grim spirituality, no resurrection? Bernadette’s attempt to give some humanity to the spirituality? And Maria in heaven, with love, with Jesus, God and the Holy Spirit?

THE DARKSIDE

Australia, 2013, 94 minutes, Colour.
Deborah Mailman, Aaron Pederson, Claudia Karvan, Bryan Brown, Marcia Langton.
Directed by Warwick Thornton.

Cinematographer-director, Warwick Thronton, and his production company, asked aboriginal people to send in their experiences in the form of ghost stories. Over 100 were submitted, and a dozen or more were chosen to be filmed.

A number of the stories used prominent actors to speak the words of the stories that had been sent. Amongst them were aboriginal actors including Deborah Mailman (with Marcia Langton in the background) and Aaron Pederson. Their powerful simplicity keeps our attention.

Non-Aboriginal? actors also recount some stories the stories, Claudia Karvan, Bryan Brown, Sasha Horler.

The focus is on straightforward storytelling, though some of the stories have action, for instance a family driving along the road in the Northern Territory seeing a little girl, going back to her, finding that she had disappeared.

Quite a number of the stories are single takes, some of them quite long, with the storyteller simply speaking to camera. One of the most effective is the final story where a young woman in a hospital corridor recounts her experiences both with calm and with emotion.

In one sense to call these stories ghost stories is a misnomer, at least for Western audiences who are used to hauntings and spooky stuff. These stories are ‘spooky’ in a different sense, more along the lines of ESP or a sense of presence which cannot be explained rationally. They also raise questions about the nature of body – spirit – soul.

Aboriginal people, with the centuries-old understanding of the world and of human beings, lead more rational people into questions about this world, this life, the afterlife.

Western audiences are invited to reflect on the past with a story where the researcher goes to the National Film and Sound Archives where she finds that this was previously the Institute of Anatomy, where the bones of aboriginal men and women were kept as specimens and studied. Her field of investigation changes and she delves into this eerie reality of a correlation between film and bones.

One of the more exotic stories is that with Claudia Karvan, a white woman drawn into an aboriginal experience, the playing of the didgeridoo, the invitation to dance, a whirling imaginative experience, a sense of aboriginal presence, of elders.

But, most of the stories are not told in this exotic way. Rather, the audience is invited to listen, to look, to feel, to share, to puzzle.

1. The impact of the film? The work of the director/cinematographer?

2. The stories, the range, the performances, the interviews with the director?

3. A collection of ghost stories, sent in by people, the director choosing those for filming, the cumulative effect? The nature of the ghosts, the nature of haunting, intimations of an afterlife? Ghostly presence in aboriginal culture?

4. The range of settings for the stories, the cast, the editing?

5. Story: the single take, the sister, her head down, the close-up, the narrative about her brother, the single take? Her mother, the gift, the suicide and the funeral? He Ain’t Heavy…? The sad sobbing? The reassurance to the brother? Matey, moving on? The music, being free?

6. Story: the woman singing, talking, 1996? Thursday Island, the pregnancy, the mattress on the floor? Stiff, paralysed, the comments about the Christian God, faith, her attacking the ghost in Jesus’ name? Her husband? The black woman? The crockery, the quilt folded, the skin? Arms, crawling on the wall?

7. Story: travel, Alice Springs to Adelaide? The 11 years old girl wandering, the group in the car, the fence and finding her alive? The turning back, no girl present? The child, the little boy, mother having left him? Hunting, grubs, no car? The truck, Nana, long and the relief? The girl as a spirit of Rio?

8. Story: the girl in the portrait, the girls singing, the painting, the painting of the face, white and brown, the tryptich, it’s being dismantled?

9. Story: on the beach, with the woman, going to South Australia, the brother and the wife, memories of the York Peninsula massacre? The family history? people, the leader and the hat? Knowing that the presence was there? Boots and cloaks? Warm? The ancestors’ show, honouring them?

10. Story: the man, 72, the bar, he and his wife travelling, the cane-cutting, white hair? The shed, the fireflies, the high hill? The boathouse, the flowers blooming? The family burnt out in 1952? The wife taking the flowers, putting them back? Light nevermore? The body, the soul leaving, the spirits remaining? And the beer?

11. Story: actress Deborah Mailman representing the storyteller, sitting on the veranda, her monologue, ‘stickybeak’, the Ouija board, avoiding it? Playing the board? ‘I’ll get you for that’? the old woman sitting playing cards (the presence of Marcia Langton)? The family gone, alcoholic, schizo, dead, insane, the curse? Unable to get rid of the curse?

12. Story: the black spot at the centre of the screen, the eclipse, the diagram? The man at the station, the eclipse, the black screen for the eclipse? The interpretation, ill, myths, life, explanation?

13. Story: the National Film and Sound Archive, the visit, the researcher and her skills? The background of Sir Colin Mackenzie, the Institute of Anatomy in the ACT? The anatomical examination? The film, and natives as specimens? The irony of the Archive housing the remains as well as the archives? The portraits? Being watched? The film visuals? The fear of going to sleep, dozing, the silhouette of a man with the scalpel, slicing her, the pain, waking up? The change in her research? The anatomical research, finding the morgue, the skeletal photos, the ethnographic films? The measuring and the subjects being measured? Upset, the issue of repatriation of remains? The shipping? The container of bones? The spirits, restless? The ghost leading the researcher to the Institute and this new research?

14. Story: the boys dancing, the music, the sticks, the chant?

15. Story: the boats, fishing, the rainbows, the 1970s? The presence of Bryan Brown? Telling the story? The dinghy, the strange feelings? The river, the girl, her legs, tucked, clean, blue floral dress? Learning to the side, gone? The response to this experience?

16. Story: the presence of Claudia Karvan, playing the didgeridoo? Her aboriginal friend, the traditional garb, painted? the yoga mats? The vibrations, of the didgeridoo? Her five senses, affected? The holographic image in the mind? The different consciousness? Transported? Her dance? The flames? The aboriginal elder and the talk, not understanding? Like a drug experience? The massive rainbow serpent on her body? Dying or not? The snake flicking the body, on her throat, protecting, comforting? Fear and anger, pale? The room, spinning? The red barren land, the men dancing, the circle? Should women be present? The white dots on the surface of Claudia, the convulsion, back, no didgeridoo, no smoke? saying ‘you saw my grandfather, the first for a white woman’. Claudia open, the heart of the child, and experience of initiation and her being honoured?

17. Story: the campfire, sitting, the presence of Aaron Pederson? The travel story, the small shed, no power, and the old aboriginal women, the dog barking? alone with the dog’s? The beautiful night, the group of the swags, the intermittent rattle, loud, no wind, sharpness, stillness, staying in bed? ‘Thing’ pushing the bed and the talk, the bed tossed, groaning and breathing? Feeling the presence on the face? Hearing something and listening, bad energy? The white cattle drover who lived there? Racist? Angry that the newcomers were there? The old lady, always picking on her?

18. Story: the girl in the hospital, stoned, on her way to the mate’s house, the car cold, anxiety? The visitor’s room? The mirror and her presence? Hallucination or not, freaking out? With a friend, telling her? ‘I’m always here you’, she being a rock, sorting out matters with her parents? Sometimes seen, sometimes not? Her healing? To understand death, the other side, loss and grief? The niece at 25 weeks, surviving, happy and the issue of her lungs? The questions, respiratory, (‘its time’)? The name and the details about the girl, the dying, the sister, the vigil? Nana preparing me for this? The issue of prayer, more prayer, God-like?

19. The film as a contribution to Australian storytelling, aboriginal heritage, stories, ghosts and afterlife, aboriginal style?

NEBRASKA

US, 2013, 106 minutes, Black and white.
Bruce Dern, Will Forte, June Squibb, Stacey Keech, Bob Odenkirk, Rance Howard.
Directed by Alexander Payne.


Nebraska is a very likeable film, one of the most likeable in recent years.

It was nominated for Best Picture at the Oscars with nominations also for Bruce Dern and for June Squibb. Had they won, the awards would have been well-deserved.

Bruce Dern has had a long career, gaining an Oscar nomination in 1978 for Coming Home. But, he has not been a leading man, rather a character actor, and this film gives him the chance of a lifetime – and he takes it and creates a memorable character. He plays Woody, an old man, becoming confused, thinking that he has won a $1 million because he receives one of those brightly-coloured pages in the mail that trumpets that he is a winner. He does not understand these promotions, does not know the conditions, but is convinced that he has one and decides to go to Lincoln, Nebraska, to get his million dollars. He starts off by walking but is brought home by his son, with his wife ticking him off.

So, we are introduced to a ‘typical’ old man, rather gaunt, bearded and scruffy, sometimes confused, prone to keep to himself, sometimes a hard case, and an old heavy drinker. Were also introduced to his wife, a strong-minded woman, who has stayed in her marriage despite all the difficulties and certainly wears the pants in the family! The couple have two sons, one successful in television, the other a rather morose man in middle age, often feeling forlorn, separating from his girlfriend, in an okay job but just that, not relating so well to his father.

In an inspired moment, David, this younger brother (Will Forte) decides to drive his father to collect his winnings, all the time trying to persuade him that he has not won. This will be a significant journey not only for Woody but also for David. They begin to talk as they travel, the father not revealing much, David challenging him at times, opening up some leads.

Their overnight stop is with one of Woody’s brothers, Ray (Rance Howard, Ron Howard’s father). Woody is comfortable with Ray and his wife, Martha, but their oafish twin sons are mocking and try to steal the ticket for the winnings. No matter how hard David tries to dispel the news about the winnings, everybody takes this is a sign that Woody has actually won.

At night, they wander around the small town, visiting bars and eventually finding older men that Woody knew, especially his partner from the past, Ed Pegrem (Stacey Keech), who has something of a nasty streak, wanting money from Woody although he should be in debt to him and revealing some unpleasant aspects of Woody’s past. Better is the family dinner where all his brothers and their families come to Ray and Martha’s house. The visual composition of Woody and all the brothers watching TV is classic. But, some of the family also have their eye on the money, bringing up situations from the past – but finally being emphatically told off by Woody’s wife who praises his past generosity and their meanness.

There is a fine sequence where David goes to the local newspaper and meets the widow of the publisher who shows him newspapers from the past, with Woody’s photo and his Korean service, and reveals something of Woody’s past more kindly.

As might be expected, there is no money in Lincoln. However, David does an admirable gesture at the end, an acknowledgement of and a tribute to his father.

The film was directed by Alexander Payne, not a prolific director, but a fine one with different films like: Citizen Ruth (starring Bruce Dern’s daughter, Laura), election, Election, About Schmidt, Sideways, The Descendants. He tells a good story, spends a good yarn, and elicits great humanity from his cast. He has also opted to film in black and white, a striking use of this black and white, the vistas of the open spaces of the mid-West, wonderful close-ups of the characters, fine compositions with characters, so that one welcomes the power of black and white photography.

Enjoyable, humane, thoughtful.

1. The impact of the film, older audiences? Younger audiences? Humour, humanity, warts and all portrait? Likeable?

2. Awards and nominations?

3. The choice of black and white photography, the widescreen? The open spaces of Montana, Wyoming and Nebraska? The close-ups? The visual compositions? The musical score, the piano?

4. Montana, Wyoming and Nebraska? The small towns, the streets, the homes, the shopfronts, the bars? The countryside and the farms? The city of Lincoln, the high-rise, offices?

5. The basic plot, the plausibility, elderly people, confusion, thinking they had inherited $1 million, not seeing the conditions, convinced, not hearing other people, the determination? The journey, walking, being picked up and brought back, reactions? The sons? Woody’s wife? The fulfilment of hopes?

6. David and Ross, Ross and his success, television, family, relating to his parents? David, the younger, the descriptions him as a baby? The separation from his girlfriend? Seeing HIM at work, the sales and the young couple talking to him? His feeling down, picking up his father, talking to his mother, trying to relate to his father? His motivation in the decision to drive his father to Lincoln? His journey for his father? His learning so much, the effect? Asking about Woody’s love for his mother, the desire for children? Woody offhand, taking it for granged, his wife being Catholic? His drinking? Buying the truck, Woody’s ownership, driving, the open road and the end?

7. Bruce Dern as Woody, his age, his appearance, his experiences of being confused, on and off? His relationship with his wife, his sons? Walking on the journey, being picked up? His wife ticking him off? His son deciding to take him? His talking on the journey, some revelation of himself, his memories of his past, his father, at home, his brothers, not wanting to farm, a mechanic, going to Korea, the revelation that he was shot down, the aftermath? His marrying and his motivations? His relationship with Peggy and choosing his wife? The story of his infidelity at the reservation? His heavy drinking, his poor fathering, his assertion that he should do what he liked? The story of the past partnership with Ed Pegram, selling his share in the garage? The comments about his generosity to people?

8. Ray and Martha, pleasant, their twins and their being dumb, the accusation of rape, their volunteering? Their laughing at David? The masks, stealing the document? The other characters in the family, all the brothers and their families coming for the meal, the discussions about the car with the older brother, and his selling it? Albert and his going out onto the footpath to watch the passing traffic – and Woody saying goodbye to him as they passed?

9. Kate’s arrival by bus, taking over, the visit to the cemetery and all her comments on those she knew, all the Lutherans – and her revelation to the man who was after her?

10. David’s visit to the wife of the publisher, the stories about his mother, about her liking for Woody, wanting to marry him, but his choosing Kate? Her story of the shooting down in Korea? David’s visit and seeing the newspapers, the photos and articles? Peggy coming out of the shop at the end, looking at Woody – his recognising her or not?

11. The town of Hawthorne, the bars, the younger people he did not know, the other bar, Ed and the old friends, their welcoming him?

12. Ed, as his partner, the taking of the transformer and wanting it back, Ed and his wanting money, his story to Dave said, David, his hard line, David punching him?

13. The relatives at the meal, the chat, the interest in the money, after the dinner, the special requests? The wife and her swearing at them?

14. Going to the old home, visiting the rooms, his own memories, father severity’s about his and his wife’s room? Looking out the window, the memories?

15. Going into the wrong house, to steal a transformer, the nice people coming home, the sons having to return it quietly, Woody and his wife having a nice chat with these friends?

16. Arriving in Lincoln, the office, the reality of the conditions, not getting the million? His choice of the cap? Wearing it?

17. David, going to buy the truck, putting it in Woody’s name, getting his father to drive? Woody’s delight and satisfaction?

18. The open road and the future? The achievement of Woody’s journey? The achievement of David’s journey?

CHINESE PUZZLE

France, 2013, 117 minutes, Colour.
Romain Duris, Audrey Tautou, Cecile de France, Kelly Reilly.
Directed by Cedric Klapisch.

We might well ask why a French film, mainly set in New York, has a title such as Chinese Puzzle! Actually, the director, Cedric Klapisch, has made a trilogy with such unusual the names. The first was L’ Auberge Espagnole, which translated Pot Luck or Euro Pudding. The second was Russian Dolls, using the English phrase for the title. So, audiences alerted, we wonder what these tales could be.

They are the titles of three films with a central set of characters. At first, in L’ Auberge Espagnole, they were a set of students living together in a Spanish apartment, with all the issues of their age, relationships, hopes for the future… In Russian Dolls, they were getting older, moving into career situations, continuing with their relationship issues. Now, they are around the 40 mark and experiencing problems that make them re-assess their lives.

One of the major surprises of the film is the New York setting. What is a very French director doing when his central characters opt to live in New York rather than in France? A French concession to the United States? The director has indicated that now we have a generation which is more mobile, and is not afraid of mixing with different cultures, live in different countries, deal with international challenges. But French characters actually opting for life in the US?

Once again, the central character, Xavier, played by Romain Duris, is beset by problems. He has become a successful writer and is continually hounded by his agent in Paris. He has been married for 10 years to Wendy (Kelly Reilly from the previous films) and has two children. When he moves to New York, so does she – though they are separated and she has taken up with an American. His questions include asking his children whether they want to live in the United States, issues of completing his novel, even his search for an apartment for himself.

The other central character from the past, Martine (Audrey Tautou), also makes contact. She and her son come to America for a holiday, making all kinds of complications for Xavier and his friend, Isabelle (Cecile de France), also from the previous films, who is in a lesbian relationship, and an affair, and allows Xavier to have her apartment as a base. And it becomes more complicated as Xavier has decided that he wants to get a green card in order to work with in the US. Fortunately, he has helped a Chinese taxidriver when he was assaulted and the family is extremely grateful, one of the daughters agreeing to stand in as his wife for the card. This also involves some complications with the apartment and the Inspector who wants to see whether the marriage is genuine.

On the whole, this is a frothy French comedy – allowing for its love for the United States and New York City – and will entertain fans of the other films, wanting to see what happens in the lives of these characters.

1. This film as the third in a series? The director’s perspective? The core cast in each film? The changes over time?


2. The memories of the past, experiences, drawing on them, developing them? Successes and failures?

3. The locations, France, Paris, the United States, New York City? Editing? The musical score?

4. The credits, New York, the family, the slow motion?

5. Xavier, as a writer, his 10 years marriage, his voice-over, his failures? The editor and the novels? For publication? Their Skype talks? The family, the photo, the 10 years, the happiness, breaking with Wendy, still loving his children? His mother upset? warning him not to be like his father? Love, failure, change, shame, sharing the children, the summer vacation, the son not wanting to go to New York?

6. Long friendship with Isabelle, the device of the cut-out characters, the backgrounds drawn? Her partner, going to New York, the issue of the baby? Asking Xavier for the semen? His going to the clinic, the pornography, the slow ejaculation? The visualising of the nurse and her come on, with Isabelle, his success? Isabelle’s gratitude?

7. The editor, advice, the quotes, shame being good?

8. The device of the visit of Schopenhauer, his 19th-century close clothes? His advice on turning the side of the embroidery? Xavier: ‘no hope, no belief, call in German philosophers’? The publishing of the two novels? The launch? His being late, the neighbour intruding? The latest later visit of Hegel and his advice? Hegel’s books? ‘All nothingness is the nothingness of something!’.

9. The decision to go to New York City, the landscapes, Isabelle and Ju, his sharing their apartment? Isabelle pregnant? His travelling around New York on
the streets, the subway, the visit to John, Wendy out, John and his difficulty with accents, Xavier’s observation about accents and failure? Not being understood and humiliated? His imagining himself in costume and speaking ye oldie English (in subtitles)? The relationship between John and Wendy, the issue of his son’s uniform to school and his anger, her expensive lawyer and the visits, his going to the cheaper lawyer?

10. The phone call from Martine, the Skype, her son, Lucas, their coming to New York?

11. The computer search for apartments, the collage of the various tryouts, the landlady, the proper Jewish couple? Ju and her apartment, in Chinatown, the landlady, his gratitude? The children in McDonald’s? Saturday as Father’s Day – and his meeting Ray, the discussions, their children playing, Ray and his getting Xavier the job? Warrior fathers? The boss, the objections, all being migrants? The bicycle messages? The observations about the sky, New Yorkers seeing sky? New arrivals moving from downtown to uptown?

12. Getting lost with the taxi driver, the driver’s confrontation with the truck, his being bashed, Xavier helping? Going to hospital?

13. The cheaper lawyer, the money advice, with the job, suggesting the marriage? Going to visit the taxi driver in hospital, the family’s gratitude, Nancy being willing to marry him for the green card?

14. Martine New York, her job, with organic tea, her asking Xavier to go with her as an assistant, her business ideas? Saying she was never in sync? His amazement at her speaking Chinese, dealing only with the Chinese? Her great success? going back to Xavier’s apartment, in the same bed, the sexual encounter and its effect?

15. The lawyer, the divorce proceedings, the discussions? Wendy apologising?

16. Nancy, the wedding, three days to prepare the story, the immigration official, the interview, testing them, the aftermath?

17. Xavier and his father, coming to New York, the memories of poor parenting, trying to find the initials of his mother and father, with the heart? The father not finding them? Xavier finding, realising that he was born in love, satisfied?

18. The baby, Isabelle and the babysitter, the bar, the drinking, late home, Isabelle and the attraction, kissing the babysitter, the affair?

19. Martine, coming to the apartment with the children? The awkwardness about apartments, his not telling the truth, the arrival of the official, the issue about the marriage, Isabelle and the partner having sex, out on the roof, returning? Ju and the landlady? Martine and her being described as the Nanny?

20. Xavier, the three women, saying that he needed a combination of all three?

21. The finale, the children wanting to stay in New York, asking Martine to stay, his running to the bus, her accepting?

22. The happy ending – the editor not wanting a happy ending Xavier saying that this is what happens in real life?

THIS LOVE OF OURS

US, 1945, 90 minutes, Black and white.
Merle Oberon, Claude Rains, Charles Korvin, Carl Esmond, Sue England, Harry Davenport, Ralph Morgan.
Directed by William Dieterle.

This Love of Ours is the kind of romantic drama, melodrama, that was very popular in the 1930s and the first half of the 1940s. It is surprising to find that the film was made by Universal rather than Warner Brothers, so similar is it in story and tone to those films. And the director is William Dieterle, director of so many films at Warner Brothers, including biographies of Louis Pasteur, and Emile Zola, Juárez.

For years on screen, Merle Oberon had an ethereal beauty and it is manifest here where she plays a singer in Paris who falls in love with a young doctor (Charles Korvin), marries him and has a daughter. He seems to be a romantic lead until he makes an extraordinarily rash judgement about his wife and gossip in Paris that she is seeing another man. He rejects her, takes his daughter to the United States where he becomes a celebrated scientist. By chance, on a visit to a conference in Paris, he and his friends go to a cabaret where there is a sketch-artist, played by Claude Rains. His accompanist, Florence, is, in fact, the wife. She is restored to health by her husband.

Still grieving and wanting to see her daughter, she agrees to return to America with her husband, posing as his new wife, hoping to be accepted by her daughter. Certainly not. She has been pampered by her father and has a shrine to her mother. When her mother arrives, she is rude and trying to get rid of her. However, two chance arrivals… The sketch-artist arrives, does portrait of her friends at her party, and one of herself and of her mother in which she sees the resemblance and there is a reconciliation. The other arrival is a blind man who has been healed, a musician whom the wife was helping rather than having an affair. The husband is mortified – but the screenplay provides enough hope that it will be happy ever after.

1. The 1940s romance? From Universal Studios – like Warner Brothers 1930s and 1940s style, and the director? The story, photography, musical score (Oscar-nominated), the cast, romance and tragedy?

2. The black and white photography, Paris, the contrast with Connecticut? The atmosphere of Paris, the doctors, the clubs, homes, streets? the US, the mansion, the laboratories, the countryside?

3. The title, the emphasis on love, the emphasis on ours? The break? Genuine love? Wrong suspicions? Hurt and inability to speak frankly? The consequences? The daughter, thinking her monther dead, the shrine? Lost? The music? Illness? Caring and her working with Targel? The chance meeting, illness, operation? Consequences?

4. Michel’s story, his training as a doctor, his work, in Paris? Encountering Karin, singing, helping? Love, marriage, happiness, the daughter? His jealousy, his false accusation, the failure of the marriage and his losing Karin?

5. Karin, singing, with the group, her voice and Michel, falling in love, the marriage, the daughter, helping the blind man and her being harshly judged? Abandoned, lost? The chance meeting Michel again, helping Targel, her illness, Michel restoring her to health?

6. Michel at home, Connecticut, the laboratories, his experiments, the assistants and their work? His success?

7. His daughter, her age, spoilt, pampered, the shrine to her mother, the memories, devotion to her father? Her father bringing Florence, hostility and readiness?

8. Karin, her name of Florence, the decision to return, to pose as married, the pretence, the reaction of her daughter, her being hurt?

9. Targel and his support of Karin, his arrival in America, his sketches, the background of his work in Paris, his jovial charm and protection of Karin, the doctors enjoying his sketches? The children at the party, sketching the daughter, sketching Florence? The daughter recognising the mother in the sketch?

10. The blind man, his recovery, his visit, meeting Karin, the explanation of what had happened? Michel and his upset?

11. The daughter, the recognition, the reunion, the future?

THE LIBERTINE

UK, 2005, 114 minutes, Colour.
Johnny Depp, John Malkovich, Samantha Morton, Rosamund Pike, Kelly Reilly, Tom Hollander, Johnny Vegas, Rupert Friend, Clare Higgins, Francesca Annis, Richard Coyle, Jack Davenport, Freddy Jones.
Directed by Laurence Dunmore.

Some audiences who have not done their homework to find out what this film is about will be attracted by the promises of a salacious-sounding title. If they buy a ticket, they will probably find the film tough going. While it is very frank in its language and theme, it will disappoint the prurient. It is much more serious than that. And, with its love of the English language and theatre, it might come across as very high-brow. John Wilmot, the dissipated Duke of Rochester, the subject of the film would approve both of the frankness and the intelligence, probably praising the latter while calling for more of the former.

This is a very good film for those who have been warned. The Restoration period was a huge reaction against the Puritan decades of Oliver Cromwell, the Protectorate and the Commonwealth. And the rakish Charles II led the way. We have seen many Restoration stories and remember Nell Gwynn. Some of us have studied Restoration comedy and wonder why the Hays Code was not introduced in the 1660s instead of the 1930s! As the opening information to the film reminds us, these were excessively permissive times.

And then centre-screen is Rochester himself in bold, dark grey close-up, warning us that we will not like him. And he does his best to ensure this, not only for the audience but for his extraordinarily patient wife Elizabeth (Rosamund Pike) and even Charles II (a nuanced performance by John Malkovich, often acting with his eyes rather than his voice) and the court entourage. Rochester embodied the spirit of the times, writing plays and poems (described as ‘philosophy in verse’), womanising as if there were no tomorrow (and, in fact, there was little tomorrow for him as he died at 33, disfigured by syphilis), a boorish drunk, masquerading as a doctor when Charles II banished him, yet taking theatre very seriously and directing Elizabeth Barry (Samantha Morton at her best) to become the greatest actress on the London stage. Yet, he was a critic of the politics of the times, upsetting the king with his denunciations but making a final almost-death speech to the Lords in support of the succession of Catholic James II.

Why does the film work so well, especially when it is often difficult to peer at? The photography is not quite black and white, not quite colour. It does not have the Restoration splash and brightness we have come to expect. This is a literally muddy England. The colours are not only muted, they almost disappear. However, this is balanced by a musical score which echoes the instruments and styles of the times.

There are two reasons for The Libertine’s success. The first is the writing as Stephen Jeffrey adapts his very literate play for the screen. The film values English language. The second reason is the performance by Johnny Depp. In 2004-5, he appeared in Finding Neverland, Charley and the Chocolate Factory, Corpse Bride and The Libertine. He is certainly one of the best American actors of the times (though all these productions are British and he uses an impeccable British accent). This is a performance of deserved award-winning calibre.

In a way, this is a pity because The Libertine and its portrayal of the period will be too much for many audiences in both theme and in language.

1. A British production about British history? The 17th century? The Restoration? The reaction to puritanism? The era of libertines?


2. A historical perspective, serious, humorous? Mood? A cautionary tale?

3. The re-creation of the period, costumes and decor, sets, the mansions, the London streets, the theatre, the countryside? The musical score? The coarse language?

4. The colour grading? A slightly faded look? The hand-held camera work except for the theatre scenes? Panoramas?

5. The introduction to Rochester? His speaking straight to camera, an invitation to men and women, that he would not be liked? Expressions of his attitudes? The similar technique at the end? His change of heart and conversion and death?

6. The screenplay based on a play? The staging of the film? Theatrical language? Opened out?

7. The portrait of Rochester, his family background, the presence of his mother at his home, her trying to control him, intervening, at the end? His wife, loving her, not loving her? His treatment? The portrait sequence, his talking about the monkey, his insulting her and her walking out? Her decisions to leave him or not? His relationship with Charles II, the long exile, the reason for his being in favour in the early Restoration? His exile? Being brought back? The king liking him? The discussions, politics, the succession of James and the Parliamentary moves against this? The King commissioning a special project, philosophical? Rochester with his friends, George Etheridge, Sackville? Their talk, licentious, playing cards, the treatment of women, women as whores? Downs and his approach to Rochester? Rochester liking him, his becoming part of the coterie? The attack on him, the violence and his death? The world of the theatre? Jane and her life as a prostitute, her affection for Rochester, being with him, the discussions? The manager of the theatre? Mrs Barry, her being booed off the stage, his going to meet her, the talk, the offer for training her, the sequences of his directing her, her Ophelia on stage, the great success, applause? The relationship? The show, its lewdness, sexual overtones, insulting of the King? His leaving London, on the road, with his wife, with Allcock, Allcock as a servant and confidante, accepting him because he was cheeky? The performances in the country towns, disguised as a quack? His illness, being found by the King, going home, his dying? His putting on the mask, hobbling to the Parliament, the King’s reaction, his plea for the bill to be squashed? The success of the vote? His motivation? His finally dying, the religious overtones, the minister, his mother, the quotation from the Suffering Servant songs in Isaiah? His finale?

8. Charles II, the historical background, the death of his father, his exile, the Restoration, the 10 years of his reign, serious, his going to the theatre, his wanting the spectacular show, relying on Rochester? The French alliance? The performance, his disgust, the ambassador’s withdrawal and contempt for England? Confronting Rochester? Exiling him? The Parliament, Rochester’s speech, the King getting his way with the vote? Audience knowledge of the background of the King’s own life?

9. Mrs Barry, her performance, booed by the audience? Meeting with Rochester, her caution, her background and prostitution? The discussions with him, her terms? The sequences of training? Her success on stage, applause? The personal relationship with Rochester, the mutual love? The King asking her to spy on Rochester and his work, the gift of the jewel? The end of the King’s disgust with her?

10. Etheridge and the other men about town, rakes, chauvinists, attitudes towards women, interest in the theatre, their idle occupations? Etheridge as a playwright and his success? A play about Rochester and its performance?

11. The world of the theatre, the nature of the players, the lewd aspects, Restoration comedy, the manager and her intervention with Mrs Barry?

12. The audiences, the range of people, the reactions?

13. The picture of an era?

SURFER, DUDE

US, 2008, 85 minutes, Colour.
Matthew Mc Conaughey, Woody Harrelson, Alexie Gilmore, Jeffrey Nordling, Nathan Phillips, Willie Nelson.
Directed by S.R.Binder.

There is no major reason for seeing this film, even if you are a devoted surfer. It is a routine story of a champion surfer, more than something of a stoner, who values his surfing more than his capacity for advertising. However, his manager is in earnest, urging him to take on jobs, because funds are very low and the surfer has no sense of saving his cash.

Enter an executive who is interested in reality television and sends his daughter into this world of surfing. She encounters the surfer, is involved in taping him in and of-the-cuff interview which finds its way on to television screens. And, she has a sexual liaison with him, even falling in love, which, on the surface, seems rather unlikely. Also in the picture is an unscrupulous promoter who is exploiting the surfer. And around him, there is a group of eager surfers like himself.

The main crisis is a 60 day period when there are no waves and no surfing.

The moral of the story is to go for promoters with integrity rather than double-dealers with their smooth talk. Not that audiences haven’t seen this kind of story before.

Speaking of reasons for seeing the film, the main one is that the surfer is played by Matthew Mc Conaughey, only five years away from his Oscar – though with this film that prospect doesn’t seem particularly likely. And he serves as one of the producers of the film. Woody Harrelson is the manager. Alexie Gilmore is the girl. Jeffrey Nordling is the promoter. There are also some Australians in the cast, Nathan Phillips and Travis Fine. And, of all people turning up distributing weed, is Willie Nelson.

More a curiosity piece than an entertainment.