WALKING MY BABY BACK HOME

US, 1953, 95 minutes, Colour.
Donald O’ Connor, Janet Leigh, Buddy Hackett, Scatman Crothers.
Directed by Lloyd Bacon.

This is a star vehicle for the two leads, at peak points in their careers. O’ Connor had just been a success at singing, dancing and clowning in Singin in the Rain. He was also very popular in the Francis series, Francis the talking mule. Janet Leigh was a key star at MGM but was being loaned out for such films as Houdini, the Black Shield of Falworth, Prince Valiant. She did not appear as a singing and dancing star in any MGM films but only for those on loan-out, Two Tickets to Broadway, and this film at Universal. Ten years later she would appear in Bye, Bye, Birdie. Buddy Hackett (who played Lou Costello in the telemovie, Lou) has a few comedy routines that don’t hit the funnybone these days.

The film was directed by the veteran of all kinds of genres at Warner Brothers in the 1930s and 1940s, Lloyd Bacon.

The film has the slight plot of a group of soldiers and Army personnel with their band during the war. After the war, the girl singer leaves to go to join her uncle who has a minstrel show. The men try to keep the band going, playing for producers, but being told that their sound is not popular. They go on tour but fail. The hero, Clarence (Donald O’ Connor) is wealthy and is expected to train to have an opera concert and so gain money for the family, bequeathed to him for his operatic career. Needless to say, that is not what he wants but he has to finally prepare for the concert, some comic scenes with the prima donna teaching him, the performance and his losing his voice, everybody ready to perform a contemporary music concert, elaborate costumes and dance – at the last moment without any preparation or rehearsal! It is that type of Hollywood story.

In fact, most of the film is just a succession of songs and dancers by the star, some popular groups of the period, Scatman Crothers, the title song, the number of all favourites and Janet Leigh singing the Camptown races. The solution to the problem comes from Crothers who brings the old blues and jazz to new life.

The budget is small, the production modest in comparison with MGM musicals, but probably a very entertaining one in its time and in succeeding decades.

A WINTERS TALE

US, 2014, 105 minutes, Colour.
Colin Farrell, Russell Crowe, Jessica Brown Findlay, Jennifer Connelly, Will Smith, William Hurt, Eva Marie Saint, Kevin Corrigan, Matt Bomer.
Directed by Akiva Goldsman.

No, this is not Shakespeare. In some ways, far from it. But it is one of the oddest films to come around for a long time.

It is probably prudent for a reviewer to give a warning: anybody with any trace of cynicism should avoid this film. Even those who are not prone to cynicism may find it a bit too twee or fey.

Very early in the film, a character states that the light in the sky may be from an angel’s wing as somebody changes from being a human to becoming a star. Not your usual comment. But the film continues in this vein, with the presupposition that everyone has a miracle within them, and that they need to be alert so that they can help another person with that miracle.

In looking at the list of strong actors in the cast, one wonders what it was that attracted them when they read the script. Colin Farrell is the main actor, first seen in 2014 sequence where he is rummaging in a box and finds a nameplate for a boat, City of Justice. Then the action goes back to 1895, to Ellis Island and a family trying to migrate to the United States only to be rejected because the husband has lung problems. They want their baby to have a happy life in the United States and lower him into a little boat, City of Justice, and set him towards the New York skyline. As one did!
Most of the action, however, takes place in 1916. This time Colin Farrell (with the strangest of hairdos, no credit to the credit for hairstyling) is a thief, being pursued on the New York docks by a ferocious looking Russell Crowe, as if he had stepped out of the Gangs of New York. Fortunately for Colin Farrell, there is a beautiful white horse standing by and he senses that this is a rescue. Indeed it is as he mounts the horse and it flies over the waterfront gate – later this white horse is going to do a considerable amount of flying.

Meanwhile a young woman is suffering from consumption, Jessica Findlay Brown, cared for by her anxious father, William Hurt, and her young sister. When Farrell enters to rob the house, he encounters the young woman and it is love at first sight. Again, pursued by Russell Crowe, he mounts the horse which leads him (as might be expected) to the country house of the young woman.

No more plot except that it has many tears and Russell Crowe wreaking vengeance on Colin Farrell.

Back to 2014, Farrell is still there in New York, but his memory has gone. He draws an image of a person with red hair on the pavement, we all assuming that it is the young woman of a century before. But not quite, some twists to the plot, and encounter with a little girl (with red hair) and her mother, Jennifer Connelly. And, sure enough, Russell Crowe is still about but wants to do a Wings of Desire kind of thing and becoming human to finally destroy Farrell.

And then there is a nice pleasure for movie buffs, Eva Marie Saint, 60 years on from On the Waterfront) appears as the old (very old indeed) version of the little girl from 1916 – and all the mysteries solved, a miracle, light, and another star in the firmament.

This is an adaptation of a novel by Mark Helprin, written and directed by the veteran Akiva Goldsman, who has made some strong films (A Beautiful Mind, Cinderella Man – as well as The Da Vinci Cosw and Angels and Demons!) which means that it is a big surprise that he has written and directed this piece of fantasy.

1. The appeal of the story, the film? Romantic? Miracles and Angels? Lights and Stars? Devils Incarnate?


2. Not for cynics, twee, fey? Sentiment?

3. The strong cast, the writer director and his high-powered career?

4. Fantasy and reality, plausibility or not? Lucifer on earth? Devils and Angels? Miracles?

5. The shift in time, the opening in 2014, Peter Lake, 42nd Street, the station, the box, City of Justice, his bizarre hairdo?

6. The shift to 1895, Ellis Island, the migrants, the tests, the wife free from illness, the baby? The husband and his lung condition, the appeal? Lowering the baby into the boat, City of Justice? Sending it to the shore?

7. The transition to 1916, Peter Lake, Colin Farrell and the different odd hairdo? His being a thief, fleeing Pearlie? Pearlie’s look, New York thugs, the pursuit? The white horse, Peter getting on, flying away?

8. Peter at 42nd Street, looking through the roof, his box? His friend in the station, an angel, guiding him? Pearlie pursuing him?

9. Peter leaving, the horse, outside the house, entering, trying to open the safe, Beverley playing the piano, discovering him, inviting him to have a cup of tea, his falling in love at first sight, the change in him, his riding away?

10. The scene in the home, a rich family, Beverley and Willa, Beverley’s illness, fever and temperature, playing Brahms, the delay in her leaving for the holiday?

11. Peter and the horse, arriving at the Penn’s house, his talk with Beverley’s father, her illness, the fever, Peter and his helping her father to fix the boiler? The party, New Year’s Eve, dancing, Beverley’s request for the sexual encounter? Lying on the bed? Her death? Peter failing to keep her alive? The irony that he was later to discover that he was her miracle?

12. Pearlie and the attack, Peter on the bridge, the fall into the river, surviving, losing his memory, but having a mission?

13. Pearlie, his going to visit Lucifer, the surprise of Will Smith being Lucifer, hidden underground, giving permissions, Pearlie disobeying in going beyond
New York? The 21st century visit, Pearlie wanting to become human, persuading Lucifer?

14. The 21st century, Peter not ageing, his amnesia? Virginia and the chance encounter with Abbey? Peter and his continually drawing the redhead on the pavement? Pearlie and his becoming human? His thugs? The pursuit? Virginia as a journalist, researching with Peter, the microfiche, the pictures, Peter with Beverley? His going to Virginia’s house for the meal? Abbey and her seizure, dying? Peter, trust, the horse, searching for the old Penn house, the bed, reviving Abbey?

15. The newspaper, the Penn family, the museum? The chocolate from the past, the indication of the house? Meeting Willa, her delight, recognising Peter, helping him? Looking into the heavens?

16. Peter, his miracle, the fight with Pearlie, on the ice, Pearlie’s death? The horse? Peter becoming a star?

17. How acceptable a fantasy? The 21st century imagination?

ZWISCHEN WELTEN/INBETWEEN WORLDS

Germany, 2014, 98 minutes, Colour.
Ronald Zehrfeldt, Mohsin Ahmady.
Directed by Feo Aladag.

Audiences have seen many films about the American presence in Afghanistan after 9/11, the search for Osama Bin Laden, but few films about soldiers from other countries serving in Afghanistan. The Danish film, Brothers, is something of an exception (and was remade with the plot transferred to the United States). Audiences have not seen many films about German soldiers serving in Afghanistan. So this makes Inbetween Worlds distinctive.

We are immediately introduced to a runner on the beach who turns out to be Jesper, who has served already a term in Afghanistan, but is still grieving the death of his brother there. He has been asked to return by the authorities to take command of a small group.

The Afghanistan sequences are quite striking in the beauty of the mountains as well as of the desert. We see the army base with all its equipment. But we go out on an expedition with Jesper, trying to liaise with a local tribe against the Taliban. The German group does quite well, although it has some colonialist attitudes of which it is not aware, but which are made clear by the local leadership. The Germans are also restricted in what they can do in terms of helping the locals, especially when they are attacked.

The other central character is a young man from the city, a translator who can be relied on for his work – although, according to the subtitles, he makes very smooth and diplomatic a lot of the conversations. He is concerned about his sister who is studying at the University but subject to criticisms and attack, having to wear the Burka when she goes to her studies. The young man wants to rescue her and bring her to the camp where she can act as a cook. Riding on the motorbike, they are attacked, and the sister is shot.

This raises another dilemma for Jesper, headquarters urging him not to bring the woman in for medical attention, his focusing on the more personal aspects of the war and defying the commands.

The film was directed by female director, Feo Aladag, who made an impression with her film Die Fremde, a Turkish- German drama. While she brings to life the battles in contemporary Afghanistan, she brings a great deal of feeling to the characters and the situations, especially with Jesper and his being caught-martialled.

The final image of the film is a Stop sign at a railway crossing – and a surprisingly jolting ending.

1. Current issues? The war in Afghanistan? German presence? A focus on Afghanistan in itself, rather than a focus on a US/UN forces?

2. The location photography, the range of Afghanistan, mountains and deserts? The city and its amenities? The local fort, the local people? The musical score?

3. Political and social issues? The history of Afghanistan, pride, angers at invasions, lingering resentments? The number of countries which invaded? And all had to leave? The role of the Taliban? The tribes and loyalties? For and against the Taliban? Shootings and roadside bombs? Local hopes? Women and their roles, garb, university studies? The plight of translators? The final shot? The image of Stop?

4. The focus on Jesper, his running along the beach? Breathing hard? Smoking? Getting dressed, on the plane, the close-up? With the authorities? The importance of the death of his brother, his mourning him? His second round in Afghanistan? his being recalled, the possibility of saying no? His reputation as a commander? His age, experience?

5. The group, going into the desert, establishing the base, the local tribe, the local leader, to be trusted or not? The limited space for the base? Making sure who was in control? Issues of tensions, suspicions, wariness, attacks?

6. Tarik, the interview, his hopes? At home with his sister, his care for her? Their parents executed? For being on the ’wrong side’? His teaching the children? His being late, entering the line? Introduced to Jesper? His work as a translator, pointing out Haroon, his diplomacy in doing the translation? The stressing of local customs? Taking the bike to see his sister, Jesper taking the key, asking permission to get her and to keep her safe as a cook in the camp? His going home, taking her, her being shot, his carrying her to the base, Jesper and his insistence on taking her to the hospital, her recovery?

7. Details of life in the camp, the heat, the need for water, the Germans in the dormitory, the mosquito nets? The issue of the shooting of the cow, in pain? The tribesman and their aggression, stating this was illegal, losing their livelihood? The authorities refusing to pay the costs of the cow? Jesper, going to the show with the Germans performing the cabaret, collecting the money, giving the donation, Haroon and his grateful acceptance of the money? The attack on the fort, Haroon and his plea for German assistance, the phone calls to the authorities, their refusing, the return, burying their comrades? The snipers, Olli seeing the boy, being shot?

8. Jesper’s decision to go to the hospital, Olli and his standards, Jesper’s obligation to save the men? The attack, Olli’s death? Jesper driving, the sentries and their security at the camp, going to the hospital, the help?

9. Jesper, the authorities, the court-martial, German regulations?

10. Tarik and his teaching again, his sister better? Going to university and graduating?

11. Jesper, going home, on the beach, reflecting on what he had done? The meaning of the presence in Afghanistan?

12. Tariq, on the bike, at the stop sign, his being shot? And the final image of STOP?

THE THIRD SIDE OF THE RIVER

Argentina, 2014, 98 minutes, Colour.
Alian Devetac, Daniel Veronese.
Directed by Celina Murga.

Where is the third side of the river? An island in the middle? An island of uncertainty?

This film shows an Argentinian family, which turns out to be a second family while the father has another wife and child. But this child is at home in the second family, playing with the children, helped by the older brother when he is bullied at school.

The film focuses on the older brother, Nicolas, played by Alian Devetac, a non-professional performer who is very convincing in the role of a 16-year-old, devoted to his family, but very suspicious of his father. He experiences a number of dilemmas, his father wanting him to take an apprenticeship in his clinic so that he will have access to studies and a career. The father also owns a ranch and takes his son to see it, hoping that he will manage it.

The film also shows the mother, loving her husband but aware of his fickleness. A teenage daughter is about to turn 15 and all her hopes and attention is focused on her party.

Nicholas is an introvert so it is not immediately evident what is going inside his mind and his heart – but, at the end, when he sets the barn of the ranch alight and jumps on the back of a truck to go to…, the film has proven itself an emotional and psychological exploration of a teenager.

1. The title, meaning, as applied to Nicolas and his life and choices?

2. Argentina, the city, ordinary, homes and school, hospital, the scenes on the ranch? The Argentinian flavour? the musical score? The songs – especially the karaoke and the theme of prayer?

3. The opening, the family playing, ordinary, not foreshadowing the changes?

4. Jorge and Nilda, in the house, his resting, the sexual encounter, his leaving? The broken marriage?

5. Nicolas, his age, a morose personality, his place on the family, his love to his mother/not? Playing with Esteban, the little boy’s age, behaviour? Andre and sharing with her? The other boy, the half brother? Nicolas liking him, playing with him, defending him when he was being bullied, his playing rugby, the two going out shooting with their father?

6. The effect on Nicolas, his classes, his work, finishing his work well, his group of friends, concern about Andre’s party, his concerned about the boy being bullied, trying to get him to stand up for himself?

7. His new job, learning on the job, working at the desk, his father giving him the apprenticeship, advising him that it would be beneficial for the future?

8. Jorge, Nicolas calling him by this name, his being in and out of the house, Nicolas watching him, the gift of the television? His work as a doctor, the patients, at his workplace? At the ranch, the scenes of riding, the shooting of the pig? His concerned about his ranch? Giving Nicolas the money, the envelopes the distribution, for his wife, for Andre and a present, Carmelo at the ranch? Jorge and his health?

9. Andrea, her age, turning 15, around the family, the meals, her party, Nicolas and the waltz with her? Their mother and Nicolas receiving the guests, the mother’s happiness?

10. Nicolas going to the ranch, giving the money to Carmelo, setting the fire to the ranch, to the truck?

11. Nicolas waiting for the truck, getting into the back, leaving – to where?

ZWISCHEN WELTEN/INBETWEEN WORLDS

Germany, 2014, 98 minutes, Colour.
Ronald Zehrfeldt, Mohsin Ahmady.
Directed by Feo Aladag.

Audiences have seen many films about the American presence in Afghanistan after 9/11, the search for Osama Bin Laden, but few films about soldiers from other countries serving in Afghanistan. The Danish film, Brothers, is something of an exception (and was remade with the plot transferred to the United States). Audiences have not seen many films about German soldiers serving in Afghanistan. So this makes Inbetween Worlds distinctive.

We are immediately introduced to a runner on the beach who turns out to be Jesper, who has served already a term in Afghanistan, but is still grieving the death of his brother there. He has been asked to return by the authorities to take command of a small group.

The Afghanistan sequences are quite striking in the beauty of the mountains as well as of the desert. We see the army base with all its equipment. But we go out on an expedition with Jesper, trying to liaise with a local tribe against the Taliban. The German group does quite well, although it has some colonialist attitudes of which it is not aware, but which are made clear by the local leadership. The Germans are also restricted in what they can do in terms of helping the locals, especially when they are attacked.

The other central character is a young man from the city, a translator who can be relied on for his work – although, according to the subtitles, he makes very smooth and diplomatic a lot of the conversations. He is concerned about his sister who is studying at the University but subject to criticisms and attack, having to wear the Burka when she goes to her studies. The young man wants to rescue her and bring her to the camp where she can act as a cook. Riding on the motorbike, they are attacked, and the sister is shot.

This raises another dilemma for Jesper, headquarters urging him not to bring the woman in for medical attention, his focusing on the more personal aspects of the war and defying the commands.

The film was directed by female director, Feo Aladag, who made an impression with her film Die Fremde, a Turkish-German? drama. While she brings to life the battles in contemporary Afghanistan, she brings a great deal of feeling to the characters and the situations, especially with Jesper and his being caught-martialled.

The final image of the film is a Stop sign at a railway crossing – and a surprisingly jolting ending.

1. Current issues? The war in Afghanistan? German presence? A focus on Afghanistan in itself, rather than a focus on a US/UN forces?

2. The location photography, the range of Afghanistan, mountains and deserts? The city and its amenities? The local fort, the local people? The musical score?

3. Political and social issues? The history of Afghanistan, pride, angers at invasions, lingering resentments? The number of countries which invaded? And all had to leave? The role of the Taliban? The tribes and loyalties? For and against the Taliban? Shootings and roadside bombs? Local hopes? Women and their roles, garb, university studies? The plight of translators? The final shot? The image of Stop?

4. The focus on Jesper, his running along the beach? Breathing hard? Smoking? Getting dressed, on the plane, the close-up? With the authorities? The importance of the death of his brother, his mourning him? His second round in Afghanistan? his being recalled, the possibility of saying no? His reputation as a commander? His age, experience?

5. The group, going into the desert, establishing the base, the local tribe, the local leader, to be trusted or not? The limited space for the base? Making sure who was in control? Issues of tensions, suspicions, wariness, attacks?

6. Tarik, the interview, his hopes? At home with his sister, his care for her? Their parents executed? For being on the ’wrong side’? His teaching the children? His being late, entering the line? Introduced to Jesper? His work as a translator, pointing out Haroon, his diplomacy in doing the translation? The stressing of local customs? Taking the bike to see his sister, Jesper taking the key, asking permission to get her and to keep her safe as a cook in the camp? His going home, taking her, her being shot, his carrying her to the base, Jesper and his insistence on taking her to the hospital, her recovery?

7. Details of life in the camp, the heat, the need for water, the Germans in the dormitory, the mosquito nets? The issue of the shooting of the cow, in pain? The tribesman and their aggression, stating this was illegal, losing their livelihood? The authorities refusing to pay the costs of the cow? Jesper, going to the show with the Germans performing the cabaret, collecting the money, giving the donation, Haroon and his grateful acceptance of the money? The attack on the fort, Haroon and his plea for German assistance, the phone calls to the authorities, their refusing, the return, burying their comrades? The snipers, Olli seeing the boy, being shot?

8. Jesper’s decision to go to the hospital, Olli and his standards, Jesper’s obligation to save the men? The attack, Olli’s death? Jesper driving, the sentries and their security at the camp, going to the hospital, the help?

9. Jesper, the authorities, the court-martial, German regulations?

10. Tarik and his teaching again, his sister better? Going to university and graduating?

11. Jesper, going home, on the beach, reflecting on what he had done? The meaning of the presence in Afghanistan?

12. Tariq, on the bike, at the stop sign, his being shot? And the final image of STOP?

KRAFTIDIOTEN/IN ORDER OF DISAPPEARANCE

Norway,2013,105 minutes, Colour.
Stellan Skaarsgard, Pal Sverre Hagan, Bruno Ganz, Peter Andersson.
Directed by Hanns Petter Moland.

Ironic title? An unusual for a film from Scandinavia, especially from Norway. This is a further collaboration between Stellan Skarsgaard and director Hans Petter Moland.

The title is to be taken literally because there is a rather high body count and each time someone, or a group, dies, the death notice comes up on the screen. So, this is a thriller with touches of a black comedy.

It is winter in Norway and there are vivid scenes of snow and ice, with the central character, declared that the opening of the film as citizen of the year, driving the snow ploughs to clear the roads. In the meantime, down at the airport, a group of drug dealers accost two of the workers, including the son of the citizen of the year. He gets the news to come to the morgue with his wife and identify his son who was found dead on a street bench in the city, allegedly dead from a drug-overdose. The parents deny that this was the case.

The film then turns into something of a vigilante-pursuit of the criminals – with a verbal reference in the film to Dirty Harry, but the plot is more in the line of Charles Bronson and Death Wish.

The father proves himself to be something of a detective, finding out one piece of information, attacking the person referred to and killing him, but getting another name before the death and so on.

In the meantime, the drug chief, a rather crazed young man who goes by the name of Count and who has inherited this business from his father, is bewildered by the deaths and disappearances of his henchmen. It is suggested that this is the work of a group from Serbia who are challenging the Count. This leads to another subplot, the clash between the Serbs and the Count’s men, and several deaths and death notices. The father goes to see his brother who formerly worked for the Count’s father but who is now married to an Asian wife who insists that he move out of the world of crime. The Count does get some information about the surname of the killer, Dickman, and assumes that it is the brother, has a talk with him – and another death notice.

Which means that the father has to do something drastic as regards the Count. The Count is a estranged from his wife but devoted to his young son – and the father decides that he will abduct the boy. The trouble is that the Serbs decide to do the very same thing. This leads to a showdown, a big shootout, but with the old Serb leader (Bruno Ganz), the father triumphs. The Count (who looks something like a Scandinavian version of Richard E. Grant) is still raving at the end.

Had this been an American film, many European critics would have dismissed it as typical. But, since it is a Norwegian film working the genre, they responded to it very favourably.

Serious, comic – and often tongue-in-cheek.

1. The title? The tone? Irony? The visualising of the death notices?

2. A drug world story? Importers, dealers, thieves, thugs? The police?

3. Vigilante story, a dead son, getting a death list? The importance of the son of the Count and the son of the Serbian chief?

4. Norway in winter, the dark, the snow, the mountains, the snow ploughs, the roads, the airport, the city? The musical score?

5. The introduction to Nils, getting ready, the tie and his wife, the speech in the voice-over, the snow ploughs, going home? His being the Citizen of the Year?

6. The plane, the airport, the thugs, Finn, Ingvar, the attack, Finn and his escape and the taking of Ingvar, on the seat in the city, dead from the drug overdose?

7. Nils’ reaction, the reaction of his wife to the news, denial, her leaving, the note with no message?

8. At the morgue, the reactions, denying Ingvar was an addict? Finn and the information, his confession? His being murdered? Giving a name?

9. Nils and his pursuit, getting names for each from each of his victims? Japp and his taunting? Ronnie and his passing on the name? Strike, the punches? Nils and his killing all the men? Rolling them in wire and throwing them over the waterfall?

10. The Count, his age, inheriting the business from his father, the alienation from his wife, their arguments, the divorce? His love for his son? Concerned about his food, he himself a vegan? Five fruits a day for his son? Eating the Fruit Loops? The thugs and drivers, their talk, in front of the boy, Count’s anger, driving him to school? The wife, her re-appearances, her knowing the truth, getting the benefit from the money, wanting a divorce?

11. The Count hearing about the missing thugs, presuming it was the work of the Serbs? His outrageous racist remarks? Capturing the Serb, torturing him, killing him, hanging him on the sign of the height in metres on the mountain? The police discovering him?

12. The Serb reaction, vengeance, the group of thugs, the old leader and his determination? Going to the hotel, all the men in one room?

13. Nils, going to his brother, asking for information, the Asian wife, her wanting her husband to reform? The name of the Chinese hitman? The 90,000 for him, the Chinese betraying him, giving his name to the Count, his being killed? The Count going to the brother, the brother working for the Count’s father in the past, mocking his name Dikman? killing him? The funeral, the wife walking away?

14. Negotiations with the Serbs, the bargaining, the shooting, the head in the box?

15. The plans for the abduction of the boy, Nils and his truck, the Serbs and the pursuit? The wife, her anger with the Count, his punching her?

16. The two gay thugs? The Count shooting one? The phone betrayal by the other, revenge?

17. The boy, the bond with Nils, hiding him, reading him the story about the snow ploughs at night?

18. The vigil, Nils been caught, the Count and his entourage, the Serbs arriving, a kind of shootout at a corral? The log going into the Count’s car? His dying and his angry outburst?

19. The Serb chief in the truck with Nils, both men with their sons killed? Revenge?

20. The touches of humour, the over the top performance of the Count, yet the morbid theme?

THINGS PEOPLE DO

US, 2014, 109 minutes, Colour.
Wes Bentley, Vinessa Shaw, Jason Isaacs, Keith Carradine.
Directed by Saaar Klein.

Things People Do is a variation on the American dream story – which, so often, turns into a nightmare.

The setting is New Mexico, Albuquerque and its outskirts, dry environment in desert surroundings.

Bill (Wes Bentley) is in insurance man and we see him making his living, talking persuasively to clients. He seems to have a happy home, a devoted wife, a loving son. His in-laws are another matter, his father-in-law (Keith Carradine) continually putting him down, talking critically about his work. This exasperates him and he appeals to his wife, but she says that her father is the only family she has.

A recreation that Bill enjoys is bowling, joining a group of friends, letting their hair down. When one has a slight accident, a man who has been watching offers his help. He turns out to be a detective, separated from his wife and family, with a drinking problem. He is played with some geniality as well seriousness by Jason Isaac.

But the dream is not what it seems. Bill is fired from his job because he is not making sufficient money. He is unable to pay his mortgage and the bank officials are severe on him.

Back in the 1930s, the response to the failure of the American dream was for men and women to become criminals, especially robbing banks. But it is the 21st century and Bill decides to rob some of his clients, some of the people whose private lives are somewhat disedifying. He builds up some financial resources.

In the meantime, the detective is working on the case, getting information, able to build up something of a portrait of the robber – whom he recognises. Because he likes Bill, he talks with him about his situation, empathetic because he is losing his wife and family, alerting Bill that he needs to stop the robberies and find a safer and surer path for his life.

The director worked as editor for some of Terence Mallick’s films, Israel-born but with a career in the United States.

1. A piece of Americana? New Mexico? Characters, situations? Affluence? Financial crisis?


2. The title, what American people do, people worldwide?

3. The New Mexico settings, the terrain, the city of Albuquerque, deserts, dry and hot, homes and pools, the town, bars, bowling alleys, police headquarters? Sense of realism? The musical score?

4. The focus on Bill, a portrait of Bill, at the beginning, his insurance work? At home, the comfortable family? Enjoying the pool? The bonds within the family, love his wife? The visit to his father-in-law, his talk, about money, deriding Bill? His job and losing it? The bank and his inability to pay the mortgage? The harsh demands? His pride, bewilderment, his decisions, looking at the dogs around the house and the pool, draining it, the robberies and the visualisation of his intruding into the houses, the people, the old couple, the man and women having sex, his amassing the money? The effect on him? Robin Hood to rob the rich and help the poor, himself? At home, the growing tensions? The bowling alley, all the friends, the games, enjoying them, Frank and his presence, helping out with the injury, his drinking? Becoming a friend to Bill? The meetings, discussions? His police work?

5. Susan, the children, her father-in-law, her worry about Bill, unable to break through?

6. Frank, his age, experience, police work, drinking, at the bowls, helping Bill, getting the information about the robberies, realising what it happened? His own personal situation and divorce, his children and not seeing them?

7. Bill going home, draining the pool, trying to cope?

8. Frank, the warnings, letting Bill go – and his motivation?

9. Bill, a new chance of life, resuming his life, his relationship with his wife, children? What future?

CALVARY




SIGNIS STATEMENT.

February 10th, 2014.


Note: this statement will refer to aspects of plot and so would be best read after a viewing of the film.


As can be seen from the title, this is a film rooted in the gospel story and in Catholic faith. It is one of the best films on priests in recent years. It was written and directed by John Michael Mc Donagh, whose screenplay reveals quite detailed knowledge of the church in Ireland and which brings the plot to contemporary life – even though, one hopes, that the principal events of the film would not happen in real life.

A key film on the life of a parish priest was Robert Bresson’s version of the novel by Georges Bernanos, Diary of a Country Priest. Calvary is the diary of an Irish country priest of the 21st century. It can be noted that Brendan Gleeson gives a totally persuasive performance as the priest. And the setting is on the Irish Atlantic coast, 38 km from Sligo according to a road sign.

With the focus of the title, it is clear that this will be a film about suffering, or that the priest will be a significant Christ-figure, a victim of his own Calvary, an innocent victim, atoning for the sins of others.

This is made very clear from the opening sequence, the priest sitting in the confessional, a man coming into the box and declaring that he has been a victim of a priest’s sexual abuse, that it happened over many years, that it has ruined his life. And then he makes a threat that he will kill this priest on the following Sunday, not because he is a guilty man, but because he is innocent and that will make his death more significant.

Since the initial theme is that of clerical sexual abuse, Calvary has to be seen in the context of the revelations of recent decades, of the government enquiry, of sentences for guilty clergy, and the criticism of church officials for not understanding the crisis and for not acting on it well. This gives a powerful framework for this week in the life of the parish priest, considering what he has been told, preparing for his possible death. The accuser could be anyone in the village, although the priest has recognised his voice.

While this is the framework, the rest of the film shows the priest going about his ordinary ministry in this parish. He is a late vocation, a widower who decided on priesthood after his wife’s death. We are introduced to his daughter, who has attempted suicide, but has come to visit her father and talk things over with him. Which means he is a priest of some life experience, of family life, even though he reflects that he was something of a failure – and a drinker.

The action of the film is basically the priest visiting different people in the parish, a woman who does his washing, is separated from her husband, the local butcher, and is having an affair with the local garage man. She is not averse to other relationships, especially to the atheist and mocking doctor in the local hospital. But, as with the other characters, she is able to speak frankly to the priest and he is able to speak frankly with her. It is the same with her husband, the butcher. There is a young man in the village, rather prim and proper, awkward in his manner, who comes to the priest to discuss his ambitions, his personality, his sexual problems, his future. Other people he visits include the man from the garage, the local policeman and his rather exhibitionist son, a local landowner who is alienated from his family, drinks a great deal, and confesses that he cares for nothing and no one. On the lighter side, there is an old American author who welcomes the priest, getting food from him, but wanting a gun just in case he gets ill and needs to leave this world.

A significant accident occurs with the death of a foreign visitor. The priest anoints the dead man, comforts his widow, encounters her at the airport when he is inclined to leave the village and avoid his imminent death. It is the words of the widow as well as his watching two workers slouching over the dead man’s coffin, that indicate that he should go back face to face what will come.

The priest is very fond of his pet dog and is devastated when he finds the dog’s throat slit. And this follows his church being burnt down by the accuser. It is clear that the priest is moving towards Calvary. In moments of agony, he takes to drinking, returning alone to his spartan room.

This statement will not reveal who the would-be killer is or whether he goes through with his threats or not – it is the priest’s preparation and readiness which is more important than what might happen. However, one significant question for the priest is whether he wept at his dog’s death – and whether he wept at the plight of the victims of sex abuse. A key question for the church, hierarchy and laity.

John Michael Mc Donagh does have a key idea, revealed early in the film, when his daughter asks the priest about virtues. He replies that forgiveness has been underrated – something which pervades the ending of the film.

Calvary is well worth seeing, the story of a priest and his own agony and Calvary in a contemporary situation, showing contemporary problems, illustrating the response of contemporary parishioners and non-believers. The writer-director has intelligently combined problems with a portrait of a genuine, if struggling, 21st-century parish priest.

CALVARY

Ireland, 2014, 100 minutes, Colour.
Brendan Gleeson, Chris O’ Dowd, Kelly Reilly, Aidan Gillen, Isaach de Bankole, Dylan Moran, Marie- Josee Croze, M. Emmet Walsh, Orla O’ Rourke, Domnhall Gleeson, Pat Shortt,
Directed by John Michael Mc Donagh.

As can be seen from the title, this is a film rooted in the gospel story and in Catholic faith. It is one of the best films on priests in recent years. It was written and directed by John Michael Mc Donagh, whose screenplay reveals quite detailed knowledge of the church in Ireland and which brings the plot to contemporary life – even though, one hopes, that the principal events of the film would not happen in real life.

A key film on the life of a parish priest was Robert Bresson’s version of the novel by Georges Bernanos, Diary of a Country Priest. Calvary is the diary of an Irish country priest of the 21st century. It can be noted that Brendan Gleeson gives a totally persuasive performance as the priest. And the setting is on the Irish Atlantic coast, 38 km from Sligo according to a road sign.

With the focus of the title, it is clear that this will be a film about suffering, or that the priest will be a significant Christ-figure, a victim of his own Calvary, an innocent victim, atoning for the sins of others.

This is made very clear from the opening sequence, the priest sitting in the confessional, a man coming into the box and declaring that he has been a victim of a priest’s sexual abuse, that it happened over many years, that it has ruined his life. And then he makes a threat that he will kill this priest on the following Sunday, not because he is a guilty man, but because he is innocent and that will make his death more significant.

Since the initial theme is that of clerical sexual abuse, Calvary has to be seen in the context of the revelations of recent decades, of the government enquiry, of sentences for guilty clergy, and the criticism of church officials for not understanding the crisis and for not acting on it well. This gives a powerful framework for this week in the life of the parish priest, considering what he has been told, preparing for his possible death. The accuser could be anyone in the village, although the priest has recognised his voice.

While this is the framework, the rest of the film shows the priest going about his ordinary ministry in this parish. He is a late vocation, a widower who decided on priesthood after his wife’s death. We are introduced to his daughter, who has attempted suicide, but has come to visit her father and talk things over with him. Which means he is a priest of some life experience, of family life, even though he reflects that he was something of a failure – and a drinker.

The action of the film is basically the priest visiting different people in the parish, a woman who does his washing, is separated from her husband, the local butcher, and is having an affair with the local garage man. She is not averse to other relationships, especially to the atheist and mocking doctor in the local hospital. But, as with the other characters, she is able to speak frankly to the priest and he is able to speak frankly with her. It is the same with her husband, the butcher. There is a young man in the village, rather prim and proper, awkward in his manner, who comes to the priest to discuss his ambitions, his personality, his sexual problems, his future. Other people he visits include the man from the garage, the local policeman and his rather exhibitionist son, a local landowner who is alienated from his family, drinks a great deal, and confesses that he cares for nothing and no one. On the lighter side, there is an old American author who welcomes the priest, getting food from him, but wanting a gun just in case he gets ill and needs to leave this world.

A significant accident occurs with the death of a foreign visitor. The priest anoints the dead man, comforts his widow, encounters her at the airport when he is inclined to leave the village and avoid his imminent death. It is the words of the widow as well as his watching two workers slouching over the dead man’s coffin, that indicate that he should go back face to face what will come.

The priest is very fond of his pet dog and is devastated when he finds the dog’s throat slit. And this follows his church being burnt down by the accuser. It is clear that the priest is moving towards Calvary. In moments of agony, he takes to drinking, returning alone to his spartan room.

This statement will not reveal who the would-be killer is or whether he goes through with his threats or not – it is the priest’s preparation and readiness which is more important than what might happen. However, one significant question for the priest is whether he wept at his dog’s death – and whether he wept at the plight of the victims of sex abuse. A key question for the church, hierarchy and laity.

John Michael McDonagh? does have a key idea, revealed early in the film, when his daughter asks the priest about virtues. He replies that forgiveness has been underrated – something which pervades the ending of the film.

Calvary is well worth seeing, the story of a priest and his own agony and Calvary in a contemporary situation, showing contemporary problems, illustrating the response of contemporary parishioners and non-believers. The writer-director has intelligently combined problems with a portrait of a genuine, if struggling, 21st-century parish priest.


1. The title? Expectations? Jesus’ passion, suffering, death? The focus on Jesus? The priest as paralleling Jesus, a Christ figure?

2. Ireland, the 21st century, traditions of the Catholic Church, faith? The church and change? The priest as reference in the town, the parish? the changes from the Second Vatican Council, more involvement of the laity? The sexual abuse issues, victims, the innocent, the guilty priests? The sentences? The priests who are not charged, who die beforehand? People’s angers, the victims, lives destroyed, vengeance and retaliation?

3. The tradition of the Diary of Country Priest, in contemporary Ireland, the role of the priest, the past, control, authoritarian? The role of the bishops? The parish priests, their assistance? Communication and information, the influence of the clergy? The fewer priests, those who were safe, those who wanted change? The issue of late vocations and experience of older priests?

4. The Irish coast, the town 38 km from Sligo? The church, homes, butcher shop, pubs? The sea? The musical score?

5. The key issue: sexual abuse of minors, the processes in the Irish courts, government reports? The victims, young? Getting older, their lives spoilt? Inadequacy in relationships? Violence? The emotional scars? The courts and the opening up of information? Guilty priests? The idea of the film that the victim should kill a good priest, that this priest expiate the sins of others? Atonement, an innocent like Jesus dying?

6. The opening with the confession, James sitting in the confessional, listening, the initial quip, his apology? The threat to his life, vindictive expressions of anger, threat, targeting the priest, to be killed the following Sunday?

7. The structure, the naming of the days of the week, the tension, preparation for death, defending himself, the man threatening, consultation with the Bishop, Fiona’s visit, talking with the police?

8. James, audience interest in in him, liking him as a character, as a priest? Traditional in some ways, wearing the soutane and being asked about at this? Communion on the tongue? His work in the confessional, close-ups of him, words, responses? The psychological edge the psychological effect of the week, his own spirituality, preparation the death?

9. His church ministry, the confessional, celebrating Mass?

10. His room, spartan, his love for Bruno? With the dog, his grief when his dog was killed?

11. Fiona, the arrival, discovering that she was James’s daughter? Her attempted suicide, slitting her wrists the wrong way? The death of her mother? Her father, the past, his drinking, becoming a priest? Her missing both parents?

12. James and his talks Fiona, of love, sin, the importance of forgiveness, the meals, walking, her leaving, his affection for her? Her appearance in his dreams? His telling her that forgiveness was underestimated?

13. The revelation that James was married, his experience of marriage, parenting? Wisdom? His failures, drinking?

14. The encounter with Veronica, the washing, the sunglasses, the violence towards her, her sexual innuendo? Her relationship with Jack, the separation? Her relationship with Isaac, her other affairs? The doctor? The drugs and cocaine? At the dance? Sardonic? Her communicating with James?

15. Jack, the butcher, his work, the talk in the freezer, Veronica and his hitting her, his attitudes, cynicism? His friends? In the bar, playing chess? The dance? His interactions with James?

16. The lover repairing the cars, James talking with him, his affairs, his not wanting a sermon, at the bar?

17. The American author, in his house, the writing, James bringing him food, his eccentricities, wanting the gun, not wanting to stay around when he was old and ill? Meeting James on the Sunday, waiting for him, finishing his book?

18. Milo, proper, his tie and the dots, awkward, self-confidence or not? His wanting advice of James? Sexuality issues, reading, pornography, his inability to relate, his hopes?

19. James going to the prison, the prisoner in jail because of rapes, talking, the reaction of the prisoner, people objecting to James visiting prisoners?

20. The accident, the drunken young people, the International victim, James anointing him? Consoling the widow? Meeting her at the airport? Her gratitude towards him? Going forward in life? Influencing him not to leave the parish?

21. The visit to the hospital, the doctor, his atheistic attitudes, mockery and cynicism? In the bar, at the dance, the cocaine?

22. Fitzgerald, his wealth, the family estate, his separation from his family, the home? His drinking? Talking with James? James’s visit, the painting, his urinating on it? His apology? Caring nothing? Wanting to make a donation, the curate and his eagerness, wanting to give Fitzgerald a drink, James and upping the donation because Fitzgerald did not care? Meeting James on the cliff, making the appointment?

23. The boy, serving, fiddling with the wine, painting, his being on the beach at the end, the danger, the gun?

24. The assistant priest, his vocation, being proper, his clothes, in the church, vapid, chatting? Not effective in his ministry? The dance, his being his being pushed over? Feeling despised? The issue of the donation, his eagerness, offering the drink? James and his outburst against him, saying he was little more than an accountant? His being hurt, the decision to go, questioning his faith, questioning his vocation, later seen reading?

25. The church burning, Jack and his responsibility?

26. James finding Bruno, his throat slit, Jack saying he did not do it?

27. The bar, the drinkers, James and his grief about Bruno, his fears, his drinking, staying in the bar, being ousted? Going to his room, exhausted?

28. Talking with the police, the exhibitionist young man, the various cases?

29. Going to the airport, seeing the woman, seeing the coffin and the men leaning on it, his going home? To death?

30. Sunday, his being ready, walking down the street, meeting the author, meeting Fitzgerald, the cliff? Going to the beach, meeting Jack, the boy and his painting, talking with Jack, his expressions of anger? The shooting? Jack asking – whether he wept at Bruno’s death and his saying he did? Not weeping at the victims of sexual abuse? James shot?

31. Fiona, going to the prison, no words but the look on her face, forgiveness being underrated?

32. The finale for the characters in the film, and what they were doing at the time that James was killed?

33. Contemporary portrait of a parish priest, in the contemporary, troubled church?

ALL IS LOST

US, 2013, 107 minutes, Colour.
Robert Redford.
Directed by J.C.Chandor.

Ail is Lost is a film of endurance, not just because of the experiences of the lone sailor on the Indian Ocean, but also of the psychological and emotional demands made on the audience.

The plot is quite straightforward, an older American man is sailing around the world alone, finds himself 1700 miles from Sumatra and discovers that a container, falling from a ship, has collided with his yacht and has put a hole in the side. Water is getting in.

While the sailor does attempt some kind of communication, he is really on his own and has to face the difficulties with his yacht, with his own fears, with his own competence, all by himself. The audience spends 100 minutes in his company, sharing in all his experiences, his hopes, his practical endeavours, his sightings of container ships passing and using flares but their not noticing him, a sense of final despair, that nothing can be done, even as sharks circle his boat.

This is not the kind of story that most audiences are interested in watching and they may have to force themselves to continue. Audiences who identify immediately with the sailor and with his experiences will find the film engrossing.

One of the advantages of the film is that the central character is played by Robert Redford, aged 76 at the time of filming. With his long career in front of the camera and behind it, it is satisfying to see him get this strong role at this stage of his life and career. He makes the most of it, convincing us that he is experiencing what is being shown on screen.

The screenplay and direction is by J.C.Chandor, who previously directed the Wall Street drama, Margin Call. This is quite a different film with different demands on the director, illustrating Chandor’s talent.

The film has its niche audience, but others will appreciate seeing this fine performance by Robert Redford.

1. A cinematic tour-de-force? The achievement of filming at sea, the experiences of the sea? Only one performer, Robert Redford, his reputation, age, energy, performance? The few words in the film? A little music? Editing, pace, special effects?

2. The importance of the sea, the Indian Ocean, 1700 miles from Sumatra? Moods, storms, calm? The isolation?

3. The opening, the sailor’s words, his message, apologies? And the later message in a bottle?

4. The previous eight days?

5. No explanations about the man, the boat’s name, Virginia Jean, indicating relationships?

6. The opening, the mystery of the object in the water, the discovery that it was a container? The hole in the yacht, its effect, the water coming in, the sailor and his use of the anchor, getting the container loose from the boat?

7. The days passing, the details of his management? His use of common sense, expertise? His age, energy, ability? Pumping the water? The goods that were damaged? Mixing the glue, repairing the hole? If only temporarily? The further difficulties, the storms, the growing amount of water, to ankles, to shins, to waist, to chest? The amount of food, water? Winching himself up the mast?

8. The survival it, the flares, the containers passing, their not seeing him or the flares? His seeing hundreds of containers on the ship?

9. The decision about the lifeboat, the water in the yacht, getting the supplies and putting them in the lifeboat? The amount of water, the food? The saltwater? The ability to desalinate? His attempted fishing, the undersea visions of the lifeboat, the fish swimming around? His few words, his desperate shouting of ‘fuck’? The message in the bottle?

10. His final desperation, setting the lifeboat alight, falling into the water, sinking? Seeing the fire from under the water? Somebody coming to rescue, the torch, his coming to the surface, the rescuing hand in close-up?

11. The demands in watching this film, concentration, identification with the sailor and his plight? Or observing it?