LA GRANDE BELLEZZA/ THE GREAT BEAUTY

Italy, 2013, 142 minutes, Colour.
Toni Servillo, Carlo Verdone, Sabrina Ferilli.
Directed by Paolo Sorrentino.

Just when you are pleased that you have made the Fellini connection with La Grande Bellezza, you find that every reviewer and every blogger has had the same thought. Never mind, it is, most definitely, very close to a Fellini film, especially through most of the running time, La Dolce Vita. It is Rome and La Dolce Vita since the release of the film in 1959. This is one of Italy’s most eminent directors in recent years, Paolo Sorrentino, and his meditation on Rome, its hedonistic life and culture and, in the latter part of the film, its worldly Catholicism.

For those who have visited Rome, for those who know it well, the film will be fascinating, stopping along the way at many landmarks in the city as well as many of the ordinary goings-on in the different quarters. For those who do not know Rome, it may be difficult to see some of the points or appreciate how it Roman in look and style, language and image that the film is.

The opening is a tantalising look at some aspects of the city, Japanese tourists and one dropping dead after taking photos, a choir of women singing in the alcove of an agent building… And then a huge scream and in an instant transition to La Dolce Vita, 21st century style, pounding music, writhing dancing, over made-up older women, under-clad younger women, older men, younger gigolo types, with atmosphere of rhythms and beats, provocative sexual poses, drugs. And from this emerges the man whose 65th birthday it is, Jep (Tony Servillo who has appeared in most of Sorrentino’s films), King of the socialites, known by everyone, knowing everyone, mingling with the guests, a complacent smile on his face (or is it incipient boredom?), a writer of only one novel, 40 years earlier, everybody asking him why he has not written more. He has, but only articles and commentary on Rome’s culture.

As the plot emerges, Jep and some other characters also emerge. over the long running time of the film, we are shown Jep in various situations, like a pseudo-dramatic art performance in a field outside Rome and an interview with the pretentious performer, going to an exhibition photos of every day in the life of a now middle-aged man, going to a kind of clinic where an expert (or a charlatan) injects into clients, including a nun who has sweaty hands, and charging a small fortune for his services. There is also a little girl whose parents encourage her to take buckets of paint, throw them on a canvas, her hands over them and produce an expensive inverter, work of art’.

On the personal side, Jep encounters a friend who had married the love of Jep’s life long since. He has read her diaries and found very little reference to himself, only as a companion, and says there is no reference to.Jep. This occasions flashbacks to his encounter with the girl – and his regrets that he never followed through with her? A father is concerned about the sexual activities of his middle-aged daughter. Jep becomes friendly with her, goes to social events and parties with her, takes her to an exclusive gallery, but she is ill. And there is his writer friend of 40 years who is desperate to succeed theatrically and, momentarily, does. Another friend has a giraffe in the Coliseum and promises to do a magic trick to make the giraffe disappear.

After all the partying, after all the strange counters encounters, with all the Fellini style grotesques, and his impending age, Jep begins to take stock of his life. At a wedding reception, he encounters a cardinal, ascetic looking, pleased with all his cardinalatial robes, who is touted to be the next Pope, but his conversation is generally confined to recipes, cooking and cozying up to Roman aristocracy. (It would be interesting to see Pope Francis review of the film and his comment on this character!).Then, at the end, a 104-year-old nun who has worked in Africa visits Rome. She has a reputation as a saint (echoes of Mother Teresa) and is being touted by an over-enthusiastic, unctuous entrepreneur. However, as she sits on a kind throne and dignitaries, from various faiths, come to kiss her hand, her legs dangle, she shakes her sandal and it falls off. It is an arresting symbol of this artificial scene.

Jep wants to ask the Cardinal a spiritual question, but the Cardinal is distracted and hurries off to lunch. Later Jep says to him that he doesn’t think he should ask the question – because he could be disappointed if the Cardinal had no answer.

The sister agrees to go to a dinner at Jep’s house, the Cardinal trying to draw attention to himself and his recipes, while the entrepreneur explains that she eats roots – and the Cardinal saying he liked roots with lemon! She excuses herself to go to the toilet and is later found asleep on the floor, which is her custom. In the morning, a flock of huge birds, winging themselves out of Europe, are found on the balcony. She breathes out and they fly away. She advises Jep that roots are important. While she ascends the Scala Santa on her knees, indicating faith and belief in the transcendent, Jep goes back to the lighthouse and the memories of his early love, the final two images of the film being the sister on the steps and the image of the girl Jep loved.

The final credits are beautiful, gliding along the Tiber, the camera roving around, watching people on the bridges, gliding under the bridges, to a rather plaintive melody. Jep has been asked about his search for the great beauty. He seems to be coming close to the end of his quest.

1. Critical acclaim and awards?

2. An Italian masterpiece?

3. The focus on Rome, its beauty, history? Contemporary? The comparisons with La Dolce Vita and Fellini? 50 years later, Roman and Italian society, hedonism and decadence, the media, music, arts and culture, men and women, the church?

4. The title, Rome, classical Rome, pop art Rome, seeking the great beauty, writing about it? The contrived and double standards, pretentiousness, deeper beauty, love, the church, religion and transcendence? The final image of the Saint climbing the Santa Scala, the image and a memory of the girl?

5. The introduction, the classical music, the camera movement, focusing on Rome, editing and pace, the choral music? The Japanese tourists, the guide, the Japaneseman photographing and dying, the businessmen and his phone call and abrupt manner, the focus on the choir, the soprano? The effect?

6. The loud scream, the close-up of the mouth? The party, the vivid dancing, with the music and the beat, and the roof, of the Martini sign, the night, Jep and his 65 birthday? The groups, men and women, the grotesques, Fellini-esque, the writing dancing, the frenzy? Sex, behaviour, drugs? Art and bottles, costumes and nudity? Theatrical style? The length of the party sequence? The atmosphere?

7. Jep emerging from this group? At 65, journalist, to have the socialites, knowing everyone, everyone knowing human? His reputation? Here is enjoying the party?

8. Introduction to the characters at the party: Dadina, a dwarf, editor of the magazine? The man who continually asked about screwing? The author from the country, talking to the stars, their insulting him, walking away? Aristocratic Romans?

9. The collage of the characters, their behaviour, events? Throughout the film? Arbitrary crossing to different characters, events, idiosyncrasies? Patterns in the overall visuals of the film? Insertion of characters and events?

10. Jep in himself, his age, his having written one novel, 40 years earlier, everybody asking him why he didn’t write more? At home, the luxury, the Coliseum, his maid and calling her ‘rascal’? His wandering around Rome, schoolchildren, the nuns? His going to bed late, the hours of his lifestyle? His comfort being pandered to? His discussions with the editor, friendship with her, at ease, the meals and enjoying them? Encounter with a stranger in the lift and asking about his suit? His ignoring him? Let discovering that he was the wanted criminal?

11. The meeting with his friend, the death of his form of love? The story of the diary, the friend worried about the few mentions of him, only as a companion? Saying there were no mentions of Jep? His throwing away the diary? Jep, his memories, his love, young, the flashbacks? Swimming and the boat coming to run him down? Seeing the girl at the lighthouse? The tantalising memories? The memories at the end of the film, talking with her, her wanting to show him herself, his regrets? The friend and the new woman in in his life, not going to the party, an ordinary life at home?

12. Ramona and her father, his concern, her age, her sexual reputation, Jep meeting her, talking, and memories of the athletic football player and his gymnastics? The friendship, frank discussions? Taking her to the party, her provocative costume?Going to the exclusive gallery, the curator, the old princesses playing cards? Meeting people? Going home with her, not having sex, her illness, medication, deaths? The father and his regrets?

13. The young man at home, mental disturbance, naked, his mother? The driving, talking with Jep and Ramona in the restaurant? His mother arriving, her concern, thinking he was better? The visuals of his suicide and driving towards the balcony? His funeral, the range of friends coming? Prayer? Jep and his talking about not weeping? Jep being moved, going to the front, offering consolation, carrying the coffin, his weeping? Ramona surprised?

14. The author, 40 years in Rome, being told his work was crap? Always going to the parties, dancing? His performance, the audience clapping, his talking to Jep, his decision to go home, Rome disappointing him?

15. Arturo and the giraffe, making it disappear, saying that everything was a trick?

16. Jep’s book, his never having written anything more except articles? everybody asking about it?

17. The talks with Dadina, her food, her status as a dwarf and her place in society?

18. His becoming disillusioned, being bored? The art manifestations, the performance at the aqueduct, the naked woman, the people on the grass, her headbanging? His interview with her, her pretentiousness, his asking about the vibrations and her not being able to explain? The later conversation with Dadina about this? The little girl, wanting to play,l go to bed, her parents demanding that she painted, the episode of the buckets of paint, splashing them on the screen, wiping them, creating the artwork? Jep’s lack of sympathy? Comment on the millions that she made?

19. Jep’s encounters, the walk around the city, the nuns in the habits, the children in habits, his observing? Going to use the room for the injections, the range of clients, the numbers and their being served, the professional man, his personal dealings with people, ousting the woman who went to a rival, flattering others, the nun and her sweaty hands – and her later appearance in connection with the Saint? The man with his exhibition of photos, every day of his life, in the cloister? Jep talking with him, his reaction?

20. The wedding ceremony, on the lawn, the dancing, the music? The encounter with the Cardinal, his character, age, people saying that he was going to be Pope? His settled look, yet pomp? All his talk about cooking, meals, ingredients? People’s admiration? At the table, the preparation of special rabbit dinners? Jep asking him spiritual questions? His being invited, distracted and hurrying to lunch?

21. The cardinal and the audience, focusing on himself, talking about going to the meeting with the Saint? At the meal, his drawing attention to himself, the Saint and her eating roots, his recipe for roots with lemon? Jep wanting to ask a question, not pursuing it and saying that he would be disappointed if the Cardinal had no answers? After the meal, outside, apologising, asking if he was a great exorcist, the Cardinal saying nothing, giving a blessing and driving off in his limousine?

22. Talk about the Saint, her work in Africa, aged hundred and four, the plan for the interview, the invitation to the audience, her sitting on the chair, people coming to pay homage, kissing her hand, prelates, nuns, African tribesman… her swinging her feet? The sandal falling off?

23. Going to the meal with Jep? Her admiration for his novel? The entrepreneur promoting her, his smile, and sharing the questions instead of her? The issue of press conferences? The Saint, at the table, only eating roots, the story of her sleeping on the floor for a few hours? wanting to go to the toilet? her lying on the floor, Jep and his coat, discovering her there? The next morning, all the birds on the veranda, the entrepreneur and his explanation, their stopping off in Rome, her blowing the breath of air flying away? Her admiration for Jep’s novel and wondering why he wrote no more? Her adding the importance of roots?

24. The Saint, going to the Santa Scala, going upon her knees, the close-ups, the effort, moving towards the top, her motivation, asceticism, faith and devotion? An illustration of holiness – and transcendence?

25. Jep, travelling south, the boat, seeing the lighthouse, reliving the memories? Her final image?

26. Jep and is explanation of his search for the great beauty, in Rome, the other quests, leading to transcendence?

27. The final credits, the plaintive melody, sailing on the river, the bridges and the movement of the camera, vehicles and people on the bridges, the nuns and their taking a photo, realistic and poetic images of Rome and its great beauty?

BLACK JACK: DEAD MEMORY

Australia, 2007, 100 minutes, Colour.
Colin Friels, Marta Dusseldorp, David Field, Garry Mc Donald, Sophie Lee, Aaron Pederson,
Directed by Peter Andrikidis.

Black Jack: Ace Point Game is the fourth in a series of Channel Ten productions focusing on a detective, Jack Kempson, played by Colin Friels. Jack Kempson is in charge of cold cases and opening up investigations and solving them. Colin Friels is at home in this kind of role after his starring in the series Water Rats. Marta Dusseldorp, who appears in many of the films, is an engaging assistant. David Field is the obtuse police commander. There is an interesting supporting cast of character actors from Australian television.
This is a more personal story of Sam, who had clashed with one of the victims before she drove home, giving Sam something to feel guilty about for many years. Garry Mc Donald has a good and sympathetic role as the victim’s father. David Field has more to do in investigation and clashes with Jack. Sophie Lee is the DNA expert instead of the customary Doris Younane.

There is an immediate suspect for the killings, a further suspect in the fiancee of the victim, and then, with some detective work, quite a twist in the identity of the murderer.

The film, as with a number in the series, was directed by Peter Andrikidis who has worked in television direction since the late 1970s.

1. The entertainment value of this kind of film? The series? Familiarity with the central characters?

2. The Sydney settings, the city itself, landscapes, buildings, streets? The interiors for the police precincts, shops, warehouses, garages? Authentic atmosphere? The score?

3. The team investigating: Jack Kempson in charge, a loner, abrupt, hard on Sam? Sam and her decision to work for the policer? Kavanagh as ambitious, obtuse, lacking imagination? Christine, forensic evidence. The superiors giving consent to Kempson to continue his investigations?

4. A serial killer mystery? The initial lift from Rob and audiences suspecting him? Greg and his role as a ranger in the national park and suspicious? Craig and his relationship with Hannah, the clash with the family? The relationship with Sam?

5. Jack, his usual self, working with Sam, being cut out of the interviews, his saying that she was too connected to the victim and to the family? Her getting him into the course on computers, his learning? His clashes with Kavanagh? Giving him the bits and pieces of information? From his cold case? The arrest of Rob, his not being the killer? Jack and his visit to Hannah’s father? Getting the information, about Craig, Hannah getting the petrol? Their finding the father in the national park, the clairvoyant, the television interview? Jack and his suspicions of Craig, the hostile meetings? The phone calls and pretending to be selling chemicals, getting the lead? Jack and Terv, the information about the phone box? The takeaway meals, Jack being sick, asking for a refund, more meals? His contact with information about the petrol bowsers? The confrontation with Terv, the fight, Sam rescuing him? Terv and his motivations, being ignored by the women, his violence?

6. Sam and her involvement with Hannah, friends, the party, Hannah drinking, accusing Sam of betrayal? Craig lying about her going to see him on the way home? Sam and her neglect of Hannah’s father, going to visit, her police work, his showing her the stars and the telescope, a return visit for dinner? The meetings with Craig, the past relationship, knowing that he loved Hannah? Discovering that Hannah had come to his house, her overhearing the phone message, hostility towards Craig, suspicions? Face-to-face at the funeral?

7. Craig, suspect, relationship with Hannah, her parents suspicions? His assault charge? Animosity towards with Jack? Discussions with Hannah? His not being guilty?

8. Rob, giving Hannah the lift, his fears, the affair with his wife’s sister, not admitting this? The clues from the DNA, washing the dogs, his arrest, admitting the truth, Kavanagh charging him, Kavanagh’s press conference? The fact that he was innocent?

9. Greg, at the National Park, his work, diligent, under suspicion, the petrol bowser? Jack and Sam’s visit, the DNA tree evidence, finding Hannah? Sam’s grief?

10. Denise, DNA work, giving the information to Jack, going out, the irony of Jack and the chat room and called himself Moneyball, the further irony that Denise had called herself Hourglass, the jokey meeting at the end?

11. The funeral, Hannah’s father and mother together, the reasons for their separation, their grief, hopes that Hannah was alive, not having anything to say to each other?

12. A satisfactory murder mystery and picture of detective work?

SEPARATE LIES


UK, 2004, 96 minutes, Colour.
Tom Wilkinson, Emily Watson, Rupert Everett, Linda Bassett.
Directed by Julian Fellowes.

Separate Lies is an elegant and intelligent adult drama.

Julian Fellowes, writer and actor, won a screenplay Oscar for Gosford Park. He is obviously comfortable in exploring themes and characters in an upper middle-class world where the men work in the City of London but have weekend cottages in the Buckinghamshire countryside and the women support the men (or leave to find lives of their own).

Based on a novel by Nigel Balchin, Separate Lies is a complex story, one where all the characters are differing shades of grey in their moral stances. No easy black and white solutions.

Tom Wilkinson, in a finely controlled performance (which sometimes breaks out irrationally), is a successful lawyer. Emily Watson is also successful in subtly suggesting the moods of his loving but sometimes dithering wife who is discovering how unhappy she is. When the husband of the woman who does their house is killed in a hit-run accident, the lying begins. Characters are prepared to cover up. Others believe in truth and justice until it touches themselves and do about-faces. The repercussions of the events on the marriage are devastating.

Rupert Everett is able to portray cads without effort and does so here. Linda Bassett, very moving as the widow, becomes the focus of attention at the end and lays before the audience the moral issues and how truth and justice can be handled.

In many ways, this is traditional British drama, drama associated with the BBC. It takes place in a privileged world but its themes are universal.

1. The title? The British and their manners and style? Issues of class? Traditions? In the modern world?

2. Julian Fellowes and his career, interests, British society, values, hypocrisies?

3. London, the flats and offices, the scenes of the city? Buckinghamshire, the village, homes, the countryside? The musical score?

4. The accident, the initial visuals, the repeats? The mystery, the possibilities, the truth, the lies?

5. James and Anne, their marriage, difference in age, no children, the comfortable lives, James’ demands, his being unaware of this, the pressure on Anne, intimidation? Her infidelity and his shock? A righteous man, righteous in business, dealings with people? His zeal for the truth about Bill? Discovering the truth, the lie and covers, his motivations, business and personal?

6. James at work, collaborations with Simon, the devotion of Priscilla, her crush, inviting him to the meal, his later acceptance? Travelling on the train, the car? The delay for the party? Entertaining in the countryside? Meeting Bill, his father? The reactions about the accident, Bill’s driving, his car and the scratch, his confronting him at lunch? Bill’s nonchalence? James and his telling Anne?

7. Bill’s father, respect for the family, Bill and his errant ways, his children and the scene with them, his way of life, his past, Maggie and the stealing, his being the witness against her? His living in America?

8. Anne, her character, strengths and weaknesses, love the James, falling out of love? Being intimidated by his expectations? The meeting with Bill, the affair, driving, the accident? Cover-up? Her wanting to go to the police, James not wanting her to? The alternatives, the lies, the alleged phone call to Bill and his confirming it? Anne caught in the dilemmas? Her decisions?

9. Maggie, as a character, her husband and children, her work, the past, the case against her, builders witness? Anne and her devotion to her, and giving her the job, no questions asked? The funeral? Her witnessing the car, people thinking she was getting revenge? Anne telling her the truth, not believing it, the policeman arriving, denying everything?

10. Bill, character, New York, family, driving fast, arrogant, the affair, love – or not? The lunch with Bill, his seeming indifference? The news of his illness, in hospital? Anne leaving to care for him? His death and funeral? Making sure that Anne was protected?

11. Anne, resuming the affair, saying she would not? Leaving James? Caring for Bill in his illness? Ann and Bill Paris, James’ phone call, the meeting in the park?

12. The business world, Simon, giving the lift home, interest in land? At the office? Concerned about James? The meeting in Paris, the decisions?

13. The police investigations and his frustration at the lies?

14. James and Anne at the funeral? Their futures?

BLACK JACK: ACE POINT GAME

Australia, 2007, 100 minutes, Colour.
Colin Friels, Marta Dusseldorp, Craig Mc Lachlan, David Field, Sacha Horler, Alice Mc Connell, Inge Hornstra, John Brumpton, Doris Younane.
Directed by Peter Andrikidis.

Black Jack: Ace Point Game is the fourth in a series of Channel Ten productions focusing on a detective, Jack Kempson, played by Colin Friels. Jack Kempson is in charge of cold cases and opening up investigations and solving them. Colin Friels is at home in this kind of role after his starring in the series Water Rats. Marta Dusseldorp, who appears in many of the films, is an engaging assistant. David Field is the obtuse police commander. There is an interesting supporting cast of character actors from Australian television.

The film, as with a number in the series, was directed by Peter Andrikidis who has worked in television direction since the late 1970s.

1. The entertainment value of this kind of film? The series? Familiarity with the central characters?

2. The Sydney settings, the city itself, landscapes, buildings, streets? The interiors for the police precincts, shops, warehouses, garages? Authentic atmosphere? The score?

3. The team investigating: Jack Kempson in charge, a loner, abrupt, hard on Sam? Sam and her decision to work for the policer? Kavanagh as ambitious, obtuse, lacking imagination? Christine, forensic evidence.The superiors giving consent to Kempson to continue his investigations?

4. Jack, the clashed with the police of the flyspeck of their torturing him, their dealing in drugs? Being ousted? The character of Brompton, railway security, Jack meeting him, going to meet his daughter, is not knowing about the rape, contacting his daughter?

5. Kylie, her life, the effect of the rape, the anger, absent father, talking with him, talking with Jack, finally being able to release the information and the effect on her, information about the horn, the reconciliation with her father?

6. Jack and Sam, their jobs, Jack learning about computers, Sam learning about a police work, her being cut out of interviews by Jack, the offer of the promotion by Kavanagh, the discussions, accepting?

7. Lizzie, the meeting with her father, asking $500, the backgammon competition, the meal, his gift of the money, Jack and his relationship with Christine, learning about backgammon, playing, talking with Lizzie, supporting her, arriving at the final, her not winning, did not mattering?

8. Kavanagh, promotions, spurning Jack, taking credits?

9. Michael, his family, the drink in the pub, his being abducted, stripped, in the cellar, chained, his reactions, self-pity? Mel bringing the food, the water, her sympathy, upset, the story about his wife (and Melanie having taken part in the pageant, knowing the daughter, visiting the house, bringing the box of toys)? Angela and Melanie at work, Mel upset? Angela and her mask, forcing Michael to write the confession, tearing it up? His use of the chains, unlocking the chains, escaping, taking the car? Going home, preparing from holiday with his family? Coming back, the knife and threatening Melanie? Angela and her upset? Kylie’s father, his arrival, the gun, Jack and Sam coming, Jack persuading him that it was not worth shooting Michael? Melanie sudden shooting? The cover-up, Kavanagh knowing the truth?

10. Mike, the family, the grief, the end? His wife being informed?

11. The victim who was raped, successful in business, having power over her case and not wanting to pursue it?

12. The sisters, their ages, effecting the abduction, the good sister/bad sister, the interviews with Jack? The shooting?

13. Christine, her work with DNA, Jack kissing her, the sexual encounter, backgammon? Information for the case?

14. The people at the station? The picture of detective work and its methods? The gardener suspect, his wife? Leading to Michael?

CLOCKERS

US, 1995, 128 minutes, Colour.
Harvey Keitel, John Turturro, Delroy Lingo, Mekhi Pfifer, Isaiah Washington, Keith David, Regina Taylor, Peewee Love.
Directed by is Spike Lee.

There have been so many movies about drugs and violence in US cities, and so many from black directors. Fresh was one of the best.

This time Spike Lee has taken on the theme (from a novel by Richard Price) and has made a very stylish film (with an arresting credits' collage) but one which local audiences may find hard to identify with. The first half-hour is hard on the ear and trying to work out who is who. And the theme is alienating, the brutal power exercised on young black men to become dealers and the role of the police (here, Harvey Keitel and John Turturro) in trying to get through, face racist issues and deal with the social background. Not new but Spike Lee's version of drugs and violence in Brooklyn.

1. The title, drug pushers, lower levels, dealers? The information given at the beginning of the film?

2. Spike Lee’s Brooklyn, Crooklyn? The tone of the credits, the collage and the vivid colours, blood and death, the streets, homes, parks, the stores, bars? Police precincts? The musical score and songs?

3. The emergence of Ronnie, his age, experience, in the park, with the other young men, the drug deals? His character? His upset stomach, the drinks that he took? His mother looking down? The police raid, the search of the men, rough handling? Rodney driving by, picking up Ronnie, the interrogation? Watching Darryl, the decision that he should die? The reasons, the drug deals? His going to Victor? The talk in the bar? The information about the hit? The garden?

4. The killing, Victor and his confession, alleged self-defence, yet the police examining the body, the four bullets, the flashbacks and Victor’s shooting? Victor and his wife and children, his love of them? His reliability, honesty, his jobs, recommendations? His work in the bar? His assertiveness, going to prison?

5. Rocco and Larry, the white men in the neighbourhood, their patrolling in their car, their discussions, the different personalities, Larry with the light touch and making jokes, believing Victor? Rocco, more serious, his interrogating of Victor? Not believing him? His visits to the neighbourhood, the discussions with Ronnie, with Rodney? With the young boy? Rocco and his life, focused on his work, the long years, the confrontations, tough, relentless?

6. Rodney, tough, his control, his clockers, the drugs, putting Ronnie under pressure? His shop, the honest front? his arrest? Getting out? His contacts? Deadly?

7. Ronnie and his challenge, whether to go or stay, packing, his mother? His attitude towards Victor? The young boy, his mother and her attacks and telling off Ronnie? The boy and his loyalty? On the bike, shooting Rodney? Rocco and his reaction to the story, sympathy for the mother, for the boy, giving a cover story, especially about the gun?

8. Victor, desperate, an honest man, his motivation for accepting the hit, shooting, getting out, reunited with his family?

9. Ronnie, his illness, the deals, Rocco helping him, his going?

10. The comment on Brooklyn in the 1990s? The black community, the detail of life, the older generation, the parents? Ordinary life in honour? The role of the police? Race, language? Spike Lee’s perspective?

12 YEARS A SLAVE

US/UK, 2013, 134 minutes, Colour.
Chiwitel Ejiofor, Michael Fassbender, Benedict Cumberbatch, Brad Pitt, Paul Giamatti, Paul Dano, Lupita Nyong’o, Alfre Woodard, Michael K. Willilams, Sarah Paulson, Scoot Mc Nairy, Bill Camp, Garret Dillahunt, Quvenzhane Wallis.
Directed by Steve Mc Queen.

It is surprising to find that the story on which this film is based was first published in 1853, the memoir of Solomon Northup, who had been abducted from Washington DC and transported into slavery in the South. He spent 12 years, 1841-1852, as a slave, working in cotton fields, on cane fields, on menial tasks as well as engineering work. It seemed impossible that he would be released and ever see his wife and children, living in Saratoga in New York State, ever again. Through the intervention of a Canadian working in the South, his friends were able to come and effect his release. After writing his book and in succeeding years, he worked for the Underground Railway, enabling the escape of slaves from the South to come to Freedom in the North.

This is a most worthy story as well as a reminder, not often presented in films, of the racist presuppositions of the slave-owners, the slaves not being humans but their possessions, and the humiliation of the slaves as persons as well is the deprivation of their freedom. This is presented strikingly and most forcefully in this film.

The film opens with scenes of Solomon working in the cane fields, herded with other slaves in the mass sleeping quarters. And then it goes back to his past, to his freedom in the North, in his status as a citizen of Saratoga and his being well received by the town’s people, especially the store owner who will come to his aid at the end. He has a wife and two children. Accepting the invitation to play the violin, which he does very well, for a circus and three weeks engagement, he is drugged and imprisoned, treated shamefully and brutally, and sent for sale in New Orleans.

The screenplay has frequent flashbacks to Solomon’s life, highlighting his anguish.

The pathos is emphasised a young woman being tricked as she sought out her children who were taken and they are all sold as slaves, her children being separated from her, and her continued depression at their loss.

The first landowner is comparatively benign though he still thinks of his slaves as his possessions. He is impressed by Solomon who now goes under the name of Platt, and shows his skill in improving the transport of goods along the river. But he falls foul of an overseer and fights with him, thus forfeiting his right to stay on the plantation and he is sold then to a ruthless landowner, who is sadistic in his treatment of his slaves, resorts to brutality and whippings, humiliates Solomon, and exploits a female slave, Patsy, as his mistress, to the haughty anger of his wife. Both plantation owners are pictured gathering the slaves together and reading the Bible to them – and later the plantation owner interpreting the Scriptures to bolster his interpretation of possessions.

This mere description does not do justice to the visuals of the life of slavery, the effect on the men and women themselves, the psychological oppression, the physical and psychological violence which is up there, sometimes relentlessly, on the screen.

Director, Steve Mc Queen, began his career as an artist, a painter, and this is evident in the visual style of the film. As with the silent film directors, he uses a fixed camera for most of the sequences, letting the action happen within the frame. Sometimes he moves the camera, tracking as people walk. He has long takes, like paintings, while the audience has time to contemplate what is happening.

The film is blessed with a strong cast, led by stage and screen actor from Britain, Chiwitel Ejiofor, who has had a successful career in the United States. The more kindly plantation owner is played by Benedict Cumberbatch, while the sadistic and tyrannical owner is played by Michael Fassbender, star of Mc Queen’s previous films, Hunger and Shame. There are smaller roles, dramatically significant, for Paul Giamatti as the auctioneer in New Orleans, for Paul Dano as a jealous overseer, for Brad Pitt, who produce the film, as a Canadian who takes on Solomon’s cause. The film introduces the Lupita Nyong’o, whose performance as Patsy, requires her to experience humiliation and great physical pain as she is flogged. She was nominated for an Oscar for Best Supporting Actress.

The film will be seen as important in its time, dramatising the experience of the slaves in the American South, a story and treatment which remind audiences of the continued slavery in different parts of the world.

1. Acclaim for the film? Slavery in the United States? Presence and absence in cinema? The shock value of this film? For American audiences? The challenge? For all audiences?

2. Steve Mc Queen and his career, tackling of issues? His art and painting background? The influence? The film as pictorial? The use of fixed camera, action within the frame, tracking shots for walking, the long takes, editing? Contemplative approach?

3. The visuals, the period, the 19th century, costumes and decor, New York State, the homes, shops, hotels? Washington?

4. The contrast with the South, prison, the auction centre, the plantations, the mansions, the sheds for the slaves? The fields, cotton, cane? Costumes and decor? The buildings?

5. The musical score, the variety of moods?

6. The structure: seeing Solomon in the cane field, in the shed with the others, the flashbacks, the visuals, the explanation, the abduction, the consequences? The continuing flashbacks giving information, Solomon’s feelings, regrets loss?

7. Solomon in Saratoga, his family, the respect, the home, wealth, his expertise and work, his status, the shopping sequence, the park and the offer of the job, his violin-playing, the proposal, his acceptance?

8. With the two men, their friendship, drinking and talking, drugs, taken upstairs, abducted? The payment for the slave-smugglers?

9. Chained, ill-treated, the physical cruelty, the boy, his mother relieved to find him, her being trapped with children? travelling to the South? The auction? The auctioneer, his treatment of the slaves, advertising and promoting them, the issue of the separation of the mother and children, Mr Ford acquiescing in this? The cash payments? The callous treatment? Mr Ford and his buying Solomon? Robert and his advice to Solomon about not revealing his identity, not revealing that he could read or write? Solomon and his outbursts, later following the advice? Robert’s master arriving and saving him – and his not looking back?

10. The status of slaves as mere possessions, no freedom, humiliated, labour, punishment?

11. Solomon as Platt, bought, transported, in the common house with the men and the women? Sexual comfort? The mother and her weeping for her lost children, Solomon telling her to move on? Her reminding him that he was missing his children and she was entitled to grieve? The slaves all assembling and listening to the plantation masters and their reading of the Bible? Their fundamentalist interpretation of the Bible, especially about property? Work, the canefields and the instructions, the supervision, the clash with the supervisor, in the fields, the slats on the building, his bitterness, getting revenge, the fight? Solomon and his talking with Mr Ford? Mrs Ford and her attitude towards the slaves, possessions? The entertainment? The violin? The ideas for business, the raft, the transport of goods? Success?

12. The fight, Mr Ford and his having to forfeit the ownership? His ambiguous attitudes towards the slaves?

13. The sale to Epps? His personality, the cotton fields, supervising the picking, the number of buckets, flogging those who did not measure up? The introduction to Patsy, as a slave, subservient to Epps, her picking the cotton? Solomon and his not meeting the quota, flogged?

14. Mrs Epps, her jealousy of Patsy, wanting her husband to get rid of her, his humiliating his wife, threatening to send her back?

15. Patsy, her role as a slave, as the mistress of the plantation owner, the sexual use of her, the dresses, her picking the cotton? Her going to the plantation and the gift of the soap? Her pleading her cause? Epps and his sadism, his wife watching, forcing Solomon to whip Patsy?

16. Epps, sadistic, Biblical interpretation of his ownership? His watching his slaves?

17. The visit to the neighbouring plantation, the white man and installing the slave as the mistress? Her entertaining Solomon? Patsy? Patsy getting the soap? Epps and his contempt for them?

18. Solomon, being sent to the shopping, witnessing the lynching, thinking about escape? At the shop, returning with the goods? Taking the foolscap?

19. The years, his suffering, his almost being hanged, Mr Ford cutting him loose, having to keep his feet in continual motion on the ground to avoid hanging? The other slaves, especially women, all going about their jobs and ignoring him?

20. Armsby, seeming friendship, his ambitions, Solomon and he is seconding the paper, making the ink, writing the letter, asking Armsby about posting it? His betraying Solomon to Epps? Burning the letter?

21. Bass, the work, Bass from Canada, listening to Solomon’s story, his own fears about helping Solomon?

22. The shopkeeper coming from the North, the documents about Solomon’s freedom, the sheriff identifying him with Solomon answering the questions? Epps and his upset, talking about his rights?

23. Solomon, the pathos of meeting his family again, his daughter, her marriage, the grandson, his wife?

24. The aftermath, writing his story, helping on the Underground Railway? No further information about his life or death?

PARANORMAL ACTIVITY 4

US, 2012, 88 minutes, Colour.
Katie Featherstone, Matt Shively.
Henry Joost, Ariel Schullman.

With episode 4, the release of each film has become an annual event. For the fans, the only problem seems to be that they feel the series is becoming weaker and weaker though some liked this one better than the previous one. For the rest of us it is, more or less, just more of the same.

Once again, Katie is part of the action, celebrating with her nephew, then abducting him and disappearing.

Then to 2011 and a family story (tensions between mother and father), a teenage daughter and her younger brother. There is also a mysterious house across the street. When the mother is taken to hospital, the little boy comes to stay with the family. The two boys bond and play together.

In the meantime, the daughter’s boyfriend seems always in the house, with camera, with computer visual connections. Plenty of recording going on as we have come to expect. This is all fairly arbitrary but necessary for this plot.

Then, of course, all kinds of disturbances during the night, mysteries about the little boy’s behaviour, lots of threats and something of a more disastrous ending than we might have anticipated.

The directors of Paranormal Activity 3 are back again. Box Office has been up to expectations. Which means that Paranormal Activity will also be back again.

PARANORMAL ACTIVITY: THE MARKED ONES

US, 2014, 84 minutes, Colour.
José Diaz, Andrew Jacobs, Gabrielle Walshe.
Directed by Christopher Landon.

A Paranormal Activity film has become an annual event, celebrated by the faithful fans of the series. They have capitalised on their title, also capitalising on the number of films which have used hand-held cameras to observe the minutiae of the spaces under continued surveillance. They also have capitalised on found footage of episodes from the past. They have tended to focus on a particular family, its history over the decades of strange movements in the night, poltergeist experiences, evil powers and their presence.

There is something of the same in this edition but it is quite different, different family, different settings.

The film opens cheerfully with a high school graduation in California, the speech of the valedictorian urging change as the means to go into the future. Actually, he and some of the others do not survive very far into the future…

The action takes place in a Hispanic section of a Californian town. Jesse, the main character, has a camera, which – as in the other films – he uses in all circumstances, even when they are implausible. He and his friend Hector, who also takes over the camera work times, seem to be living a fairly idle kind of life, a touch of drugs, a touch of sex, and not much interest in anything else except the camera.

But, there are noises and bumps downstairs and, with nothing better to do, they decide to explore. Lowering the camera down the chute, they discover a naked woman and a seemingly Satanic ritual going on. Then the woman dies. And their friend Oscar runs screaming from the house.

As with the more recent Paranormal Activity films, the screenplay takes a bit of time to get going, in the sense that it creates atmosphere rather than makes audiences jump from their seats. Though there are some of these scenes later on, especially at the end, which probably means that the fans leave the cinema laughing at their fears and jumps, satisfied with what they have experienced, and looking forward to the next instalment.

After a lot of ordinary events, seeming a bit like padding, Jesse, Hector and Marisol, decide to try some Ouija experiments. But, the battery-run, technicolour surface toy that they use does seem a touch ludicrous as it highlights the green panel for a yes and the red panel for a no.

If you intend to go to see this film, this review, in terms of plot, needs to end here. Some bad things happen to Jesse, and to the cheerful grandmother who gave a bit of a human dimension to the early story. As might be expected from seeing the Satanic ritual, a coven of midwives is discovered, the characters go to the house, camera in hand even in less credible situations, and… Shocks and jumps and we’re ready for the next film in the series. (The coven, with its midwives ‘marking’ some babies to be possessed at age 18 offers a link with the earlier films, the girls and their grandmother.)

1. The popularity of the series, the fans?

2. The title, audience expectations, from the previous films, the focus on the families, rooms? Haunting and poltergeists? Evil presences? Dangers? Fear and tension? Shocks?

3. The title, the addition to the title? The Californian community, Hispanic, friends, life and style, curiosity? Anna and the rituals? The coven? The bites in the arms of chosen children? Ordinary life, the grandmother, the gangs, fun, change, the Ouija Toy, Jesse possessed, the coven, the confrontation? The dire end for the characters?

4. The hand-held camera, its effect? Continual movement? Fixed camera? The credibility of the camera, the characters holding it, in all the circumstances in the film, especially the climax? The change of operators? Jesse with the camera, the mirror sequences, Hector with the camera? The editorial cuts?

5. The graduation, the speech, the advocate advocacy of change? The introduction to the characters and their world?

6. Jesse and Hector, friends, the celebrations, their grandmother, her cheerfulness, the girls and their compliments? Jesse and Hector and their fooling around? Family? The noises downstairs? The camera lowered down the chute, the naked woman, the ritual? The introduction of the themes? The room with the tapes? The murder?

7. Jesse and Hector and their searching the rooms, despite the police tape? Getting more information? Oscar and his leaping out of the house? The confrontation with Oscar, his being marked, his death?

8. The Ouija toy, credibility, its look, plastic, the colours, yes and no? The effect on the three?

9. Jesse, his life, casual, drugs, with Penelope, the prospect of sex, her willingness?

10. The hole in the floor, Oscar appearing, Penelope and the effect?

11. Jesse, changing, becoming hostile?

12. The information from the woman about the coven? The visit to the room with all the information about the coven?

13. The gangs in the sector, the physical attacks?

14. Jesse possessed, Hector and Marisol, his being in the car, the crash, Jesse taken by the coven?

15. The house, the evil presences, the camera exploring the house, his tension, frights and jumps, the deaths?

16. The audience enjoying this kind of story and anticipating the next in the series?

POSSE

US, 1993, 117 minutes, Colour.
Mario Van Peebles, Stephen Baldwin, Charles Lane, Tiny Lister, Big Daddy Kane, Billy Zane, Richard Jordan, Melvin Van Peebles, Blair Underwood, Salli Richardson, Paul Bartel, Pam Grier, Isaac Hayes, Robert Hooks, Reginald Hudlin, Woody Strode.
Directed by Mario Van Peebles.

Posse is a western with a difference. Its subject is African- Americans in the 19th century, the many cowboys, the blacks who settled towns in the West but who suffered discrimination, racism, and the use of the Grandfather Clause which prevented anyone whose grandfather was a slave to own property.

Mario Van Peebles is clearly intent on letting audiences know about these black pioneers. He has written and directed the film as well as starring in it, and casting his father, the celebrated director, Melvin Van Peebles, in a key role.

The film opens in Cuba, in the War of 1898, a black group under a white commander, played with aggressive relish by Billy Zane. They discover gold, leave Cuba and sail for New Orleans and then, a group organised as a posse, rides to Cutterstown to rectify wrongs done in the past to the hero’s father and to the people in the town.

The posse is led by Jesse Lee, Van Peebles, and has as its members, the giant Tiny Lister, the diminutive Charles Lane, Big Daddy Kane as a gambler and a white member, played by Stephen Baldwin. The white sheriff of Cutterstown is a bigot, responsible for Jesse Lee’s father’s death, in league about railroad profits with the black sheriff, played by Blair Underwood, and bent on vengeance. He is played by Richard Jordan, almost overacting in his zeal.

Ultimately, there is a stand-off between black and white, some tough fighting and the prevailing of the blacks before the final information about Hollywood avoiding this kind of story comes up on screen.

The film is strong, has an interesting cast led by a number of black character actors, and was financed by Working Title, and British investment.
1. Black Western? From the 1990s? The information on blacks in the American towns in the writing century? The number of black cowboys? The clashes? The Ku Klux Klan? The Grandfather clause disempowering blacks who had grandparents as slaves? The information at the end? The critique of Hollywood ignoring these stories? Mario Van Peebles project? Writing, directing, acting?

2. The American West, but with the opening in the Spanish-Cuban? war? 1898? The change to New Orleans? The American towns, the countryside, desert, the rivers, Cutters town, the building of the railroad, the stores, saloons? The feel of the West?

3. The black cast, the friendly white, the hostile light? The black sheriff and his double-dealings?

4. The introduction, the old man and his gravitas, telling the story, praising Jessie and the policy? At the end, modern times, the interviewers, the revelation that he was the young boy from the old story?

5. The sequences in Cuba, the war, Col Graham, the white commander, callously shooting men dead? The missions, Jessie and his group, their being sent out? Little J and his role with the group, is being part of the policy? The mission, the attack, the massacre, finding the gold? The confrontation with Col Graham, his being wounded? Their escape, on the ship? Arriving in New Orleans?

6. The group, Obobo and his eye? Greasy and his stature, doing the kowtowing to Col Graham, but is really being smart? Shrewd? Little J fixed fitting into this group? The bonds? No matter of colour? The gambler, Father Time, in New Orleans, joining the group?

7. The trick, riding, the river and the naked horseplay, seen the railroad being built, their destination?

8. The flashbacks, the sepia tones, the collages? Jessie as a boy, King David and his Pulham, and Jessie reading it later to the dying policy? King David and he is striving for education for all? Loving his son? The impact of the blacks, improvement, the town, the attack, the role of the vicious sheriff, killing King David, Jessie going?

9. The town, the black sheriff, the storekeepers, the saloon, the singers? Black independence, yet…? The policy enjoying settling in, wheezy and the girls? Father Time?

10. Jessie, meeting up with old Joe, they’re talking, the planning, is support? His daughter, relationship with Jessie? The night?

11. Sheriff Bates, frantic, hatred, wanting the railroad, antagonism towards Jeff Jessie, the black inhabitants and their fear, discussions, moving away?

12. The policy, together, the decisions, the support of old Joe?

13. The use of images of the Ku Klux Klan, the attack on the blacks, Jessie disguise as the Klan and the shootings, especially the prison guard who had attacked his father? Sheriff Bates and disguised as the Klan, the killing of the Mayor in the prison?

14. The buildup to the confrontations, the spirit of vengeance? Liberation for the blacks? The shootouts in the town, Father Time and his death? Everybody joining in, men and women? And the role of the little boy?

15. Sheriff Bates and his taking old Joe’s daughter, Jessie and the confrontation, her getting free? Guns and knives? Explosions?

16. The film as an action entertainment, as a glimpse of African- American history, as recompense for the ignoring of these stories?

LONE SURVIVOR

US, 2013, 121 minutes, Colour.
Mark Wahlberg, Taylor Kitsch, Emile Hirsch, Ben Foster, Eric Banna.
Directed by Peter Berg.

Lone Survivor is a strongly American patriotic film. In the first week of its release in the United States it was the top of the box office.

It is best to give a warning for audiences. If you do not want to spend two gruelling hours in the cinema, best to let it go. With its close-up of a mission, and the close-up fighting, it is a particularly visceral film. We are so immersed in the mission and the fighting – and wounding and death – that it is a tough movie experience.

The film is based on a true story, an American mission in Afghanistan in 2005, targeting an Al Qaeda leader, but the mission ending in failure. As can be seen from the title, there is only one survivor.

The timing of the film’s release is interesting. Had it been soon after the actual mission in 2005, with memories of 9/11 still vivid, it might have been used as propaganda for the American presence in Afghanistan, the war against terror and against Al Qaeda. However, it was released at the end of 2013, with the imminent withdrawal of American troops from Afghanistan. Many watching the film and being stirred by it, by American military prowess, by the antagonism towards the Taliban, might have thought that the withdrawal of the troops was a wrong decision.

During the film, in a particularly difficult situation where the squad on mission are discovered by goatherds and they have to decide what they will do, various stances are discussed: whether to kill the men and save lives, how to apply the rules of engagement, investigations into military behaviour. The four men on mission show the different attitudes towards their mission and hostility towards Afghans and the Taliban.

The leader is played by Taylor Kitsch, making the decisions but also putting forward all the options. Emile Hirsch is a young man caught up in the aggression. Ben Foster (who in many films has shown himself a sinister presence, sometimes villain) is aggressively gung-ho. Mark Wahlberg plays the older member of the group, more common-sensed, Marcus Luttrell. It is his memoir on which the film is based.

Prior to the mission, we are introduced to the men, Navy SEALS, their presence in Afghanistan, their skills and training. Their commander is played by Eric Bana.

Actual filming was done in New Mexico, mountains, forest and desert standing in for Afghanistan.

The writing is stronger than in many similar films and the audience has time to get to know the central characters and so identify with them during the mission, their hard decisions, the pursuit by the Taliban and their being wounded and dying.

However, the action then moves to the survival of the lone Navy SEAL. He is rescued by Afghan villagers who are then attacked by the pursuing Taliban, which makes the action a little more complex as the villagers fight back with guns and guard the American, and reactions to Afghans more complex. The survivor is wary at first, but then he is cared for because of the very long traditions of hospitality and care for guests that guide the people in the village. In part, Marcus Luttrell’s book is his opportunity to thank the Afghans for their kindness and care, and the final credits, showing photos or home movie footage of the members of the mission, also includes a photo of Luttrell in 2010 with his Afghan friend.

1. The film based on a true story? 2005? The situation in Afghanistan? The mission? Against Al Qaeda? Failure? The end and the photos of the participants?

2. Marcus Lutrell and his book? The experience of this mission? His being a navy SEAL, in Afghanistan, his place in the mission, the failure of the mission, his survival? His tribute to the Afghans?

3. Filming in New Mexico, the mountains, the forests, the deserts, the equivalent of Afghanistan? The village? A sense of realism?

4. The headquarters, the various bases, planes and helicopters, tarmacs? The communications equipment? Living conditions?

5. The film as patriotic, American-style? The impact of 9/11? The declaration of war on Afghanistan? American troops, the presence, their role? Military? Support?

6. The film offering a picture of the Americans in Afghanistan? Some critique? The Afghans and American vengeance after 9/11? The war on terror? The desire to find Osama bin Laden? Military action? American advice? The targets? The explanations?

7. The commander, as a person, relating to his men, decisive, communicating, frustrated during the mission, the break in communications? His responsibility?

8. The men, the background of each of them, the personal stories? Navy SEALS? Training and its rigour? Skills? Relaxation, music and singing, the young recruit and his performance? Camaraderie?

9. The mission, the explanation, the equipment? Going by helicopter, the landing? Taking positions, climbing the mountains? Settling in, surveillance, seeing the target, the Taliban compound, waiting, the radio contacts?

10. The goats, the goatherds, the young men? Silence, deciding to capture them? Axe and his hostility, aggressiveness? The four men and their motivations? The discussion as to what they should do: rules of engagement, killing the enemy, saving lives, letting them go? The various arguments? Impassioned? The decision to let them go, their running down the mountain, informing the Taliban?

11. The retreat, climbing the mountain, finding the cliff? They’re being trapped? Communications off and on? At headquarters, getting the commander? Their weapons, killing the men advancing, falling off the cliff, rolling down the cliff, their wounds? Gathering together? Defending themselves? Hiding? The continual advance of the Taliban?

12. The full experience of this mission, gruelling for an audience, participating with the men, the visceral experience throughout?

13. Daniel, young, aggressive, being wounded, his bewilderment, shouting aloud, his death?

14. Mickey, in command, the arguments, making the decisions? His being wounded, climbing to the rock, setting the radio? His death?

15. Axe, his character, hard, aggressive, memories of home, the girl, talking things over with Marcus? His surviving the longest, killing the enemy, his wounds, his death?

16. Marcus, following the decisions, being wounded, his fleeing from the mountains after being quiet, presumed dead? In the water and his drinking? Been found by the Afghans, their taking him to the village, the care, his instant suspicions? The little boy, the food and drink? Language difficulties, the issue of the knife and the boy bringing the duck? the elder bringing the knife?

17. The hospitality, the shelter, the effect on the people in the village? Their long tradition of hospitality?

18. The Taliban, confronting the people in the village, accusing them, the attack, its brutality, the fight, each side having weapons, deaths, hiding the American?

19. The timing, the helicopters flying over, the previous explosion of the helicopter? Reinforcements, the coming to the village, rescuing Marcus? Marcus wanting to take the little boy? His gratitude towards the Afghans?

20. The film story in the retrospective 2013, the eight years of American presence and fighting, the prospect of troop withdrawal? The continuing influence of the Taliban and its activities? Terrorism?

21. The ending, the credits, the tribute to the men, the photos and home movies? Marcus being seen with his Afghan rescuer?