COLUMBUS CIRCLE

US, 2012, 82 minutes, Colour.
Selma Blair, Amy Smart, Jason Lee, Giovanni Ribisi, Kevin Pollak, Beau Bridges, Robert Guillaume.
Directed by George Gallo.

Columbus Circle is a brief thriller. It is farfetched in an American kind of way and after establishing the characters and their situations, moves ultra-rapidly towards its conclusion.

An old lady is murdered in an apartment in Columbus Circle. Her neighbour, a reclusive young woman, is questioned by the police. Not wanting to leave her apartment, she becomes involved in saving a neighbour from physical abuse by her husband. Then the reality is revealed – her doctor who has sponsored her since her 18th birthday, is in fact a villain. The neighbours are in a conspiracy to rob her of her inheritance. The police eventually track down the doctor as a criminal. However, there is a climax in which the heroine not only goes out of her apartment, but outwits the criminals.

The film has a strong cast with Selma Blair as the recluse, Amy Smart and Jason Lee as the criminals, Beau Bridges as the doctor and Giovanni Ribisi as the detective.

The film was co-written by director George Gallo and Kevin Pollak. Gallo has written many films including Midnight Run and directed a few films including Trapped in Paradise.

The film has glossy production values – and is a time-passing thriller.

1. The title? New York’s Columbus Circle? The credits and the jigsaw pieces coming together to form Columbus Circle? The centre of New York?

2. The interiors, the apartments? The foyer? Outside – the doctor’s home? The bank? The finale and the streets? The musical score?

3. The opening with the murder of the old lady, sinister, the presence in the room, her reactions, her death? Being found by Klandermann? Her puzzle? Frank Giardello and his associate, the questioning?

4. Abigail, her story, heiress, her abusive father, the death of her mother, the help of Raymond? Getting the apartment, never going out? Communication by letters with KIandermann and his doing her shopping and laundry etc for her? The credibility of her situation?

5. Charles and Lillian, wanting the old lady’s apartment? Abigail writing to request it to preserve her privacy? Lillian and Charlie, their talking, his drinking, abusive, his hitting Lillian, her being helped by Abigail? Her return, the night, Lillian and her seeming innocence? Helping Abigail to come out of the room, walk down the corridor, Charlie and his pretending to drink, his accosting Abigail? Going into the room?

6. The revelation of the plot, to get to the computer, to get Abigail’s password, to get her money? Lillian and her double-dealing? Her going into the room with Charlie, the gun, the blood? Abigail and her being upset, wanting to rescue Lillian, stabbing Charlie to death? Discovering the truth about the fake blood?

7. Raymond, the family friend, having the apartment for the old lady? For Abigail? At her beck and call? His plan with Lillian and Charlie? Coming to the house, the confrontation, Charlie killing him? Burying him in the garden – and the mobile phone?

8. Klandermann, his role as concierge, recognising Charlie, discovering the truth, helping Abigail, but wanting some part of Charlie’s scheme? Charlie’s attempt to kill him – and Klandermann being run over by the bus?

9. Frank Giardello, his investigations, the crest on Abigail’s cutlery and crockery? The help from the expert? The discovery of the truth – Lillian talking to him on the phone, getting him to come to the apartment? His arrival, Abigail’s bewilderment?

10. Abigail, her shrewdness, going to the computer? Lillian going to the bank, disguised as Abigail? Getting the money – and discovering the small amount left? Abigail and her ringing the press, their coming to see Lillian as the heiress? Her arrest?

11. Abigail, her confronting Lillian, her getting the taxi, with all her inheritance, going somewhere else – and saying her name was Lillian?

12. Entertaining despite the plot holes and the hurried pace of the climax?

GANGSTER SQUAD

US, 2013, 113 minutes, Colour.
Josh Brolin, Sean Penn, Emma Stone, Ryan Gosling, Michael Pena, Giovanni Ribisi, Anthony Mackie, Robert Patrick, Nick Nolte, Mireille Enos, Sullivan Stapleton.
Directed by Ruben Fleischer.

At the end of this film, police officer John O’ Mara reminds the audience that the Mob has never had a hold in Los Angeles and that he and like-minded and like-actioned policed contributed to this.

Films about American gangsters continue to be popular. This one is set in Los Angeles 1949 and overlaps in time with the classic LA Confidential. Both show the career of Mickey Cohen who dreamed of being something like the Little Caesar of LA.

And the gangster squad? They are a special and secret group of Los Angeles police who are recruited by the city’s chief (Nick Nolte, burly and husky as ever) to wage guerilla warfare against Cohen, his gang and his drug and prostitution establishments to put him out of business. They are to destroy the business so that no other mob will take it over.

The centre of the squad is returned war veteran, John O’ Mara. He is played by Josh Brolin whose star has been in the ascendant since 2007 and No Country for Old Men (W, Men in Black 3). He is square-jawed (something of a ringer for Dick Tracy), tough, more brawn than brains but presented as the heroic American cop full of righteousness. He recruits, with the help of his pregnant wife who wants a strong team to support (and protect) her husband, are a motley lot: a determined black cop (Anthony Mackie), a veteran sharpshooter (Robert Patrick) and his partner (Michael Pena who appeared in End of Watch), an intelligence officer (Giovanni Ribisi). They are joined by O’ Mara’s friend, Jerry (Ryan Gosling), who is in couldn’t-care-less, drinking mode since returning from the war, starts a liaison with Cohen’s mistress, Grace (Emma Stone), but, disgusted at the shooting of his shoe-shine friend, joins the squad.

But, it is Sean Penn as Mickey Cohen who is mesmerising. For more than twenty years, Penn has been chameleon-like in immersing himself in his roles, creating a wide range of characters (in recent years, Milk, This Must be the Place, quite diverse roles). At the opening, he is vicious, ruthlessly cruel in torturing and killing both rivals and incompetent aides. As the film progresses, he shows no redeeming features. He is vicious.

The film has several set pieces as the squad attack Cohen, a raid on a casino which is rash and ill-planned, bugging his house, chasing a heroin haul from Burbank airport into the desert, a raid on a plusher casino and burning the cash.

The film also shows the bonding in the squad, their vulnerability, their determination to arrest Cohen which leads to a final shootout (guns galore and high body count) and a fist fight between John and Cohen.

The film is not for the squeamish, especially in the cruel Cohen sequences. It is a reminder, as are so many of the police films, that criminals have no scruples, that somebody must confront them while maintaining their own human decency. Not an easy thing at all.

1. A Los Angeles story, crime, the police, based on actual events?

2. Los Angeles 1949, the city, the landmarks, Chinatown, Hollywoodland? The homes? Clubs, casinos, hotels? The ethos of Los Angeles at the time? Carmen Miranda, songs, the entertainment posters?

3. The title, police, at war, guerrilla warfare, the law against corruption, breaking the hold of the Mob?

4. The strong cast, impersonations?

5. The introduction to Mickey Cohen, his attack on the Chicago gangsters, talking, tearing the victim apart? His character, no redeeming features, ambitions, a Little Caesar, absolute ruthlessness, his sense of vision for the future, his control? His thugs, the judge, the police in his pay? His presumption?

6. Post-war soldiers, joining the police, their experiences in war, memories of war? Patriotism, fighting for the country, continuing to fight? John O’ Mara, his age, experience, in the police, tough, the tender relationship with his wife, her asking him not to be in danger? Parker impressed with his work? Giving him the job, setting up the squad? His wife and her help, reviewing all the documentation, advising on selection? But a man of brawn, rather than brains?

7. The police, O’ Mara and his tough stunt, going to Mickey Cohen’s house, the pimps, the confrontations, the arrests, their not being held? The range of corruption?

8. The squad itself, the methods of recruiting, the contrast with Jerry, the friendship, Jerry’s drinking, not caring, his friendship with Pete the shoeshine boy, giving him dollars, watching his death, his reaction? Flirting with Grace, defying Cohen? The friendship with Jack, the information about the gang? Cavalier, talk, clothes? Max Kennard and his age, skills with the gun? Demonstrating them? Navidad as his partner, his turning up and surprising the group? Coleman Harris, black, earnestness? Conwell Keeler and his family, brains, intelligence? The scenes of training, shooting?

9. The first mission, the casino, the local police present, the failure, the arrest? Max and his getting the chain to the vehicle? Failing? Jerry, his impersonating Cohen’s men? The real thugs turning up, the escape?

10. The visual violence, Cohen and his cruelty, the pimp and his being burnt in the fire in the elevator? Torture, whims, demanding obedience?

11. Parker, his role as chief, the threats to his job, prevailing at the end because of the squad?

12. John, his wife, the love, the group gathering at the barbeque? Cohen and his attack on the homes? Connie, pregnant, the birth of the child?

13. Jerry and Grace, Jerry and his cheeky approach, her background story of coming to Hollywood (echoed by the initial sequence with the young girl being conned by the pimps)? With Cohen, her fears? Seeing Jerry in the house? Her being under suspicion, the escape, reliance on Jack, witnessing his death? Her volunteering to be the witness against Cohen?

14. The bugging of Cohen’s house, the setup, Keeler listening in, the information? Finally being fed false information?

15. The setup at Burbank Airport, the gang’s presence, the car chases, the truck, the tactics, the ruining of the drug haul?

16. The newspaper headlines, Cohen and his anger? The next job – the casino, burning the money? The coordination of the activities and the squad improving?

17. Cohen realising that the squad were police, the setup over the bugging devices, the setup in Chinatown, the action, John and his confidence, Jerry and the warning? The shootouts?

18. Keeler, listening in, the threats, his death? John going to the family, trying to console the son?

19. The group being wounded, yet ready for the final confrontation at the hotel? Standing over the judge to get the document? The judge warning Cohen?

20. The hotel siege, the range of guns, the body count? Cohen and his fight with John, defeat and arrest? Max Kennard, his being wounded, his shooting with Navidad’s help? His death?

21. The happy ending, the clean-up of Los Angeles – and the tribute to the police?

PITCH PERFECT

US, 2012, 112 minutes, Colour.
Anna Kendrick, Skylar Astin, Brittany Snow, Anna Camp, Rebel Wilson.
Directed by Jason Moore.

This is a very cheerful film.

Pitch perfect refers to the musical term of getting the right note just right. Very important for a cappella singing groups. And this is what the film is about: a cappella, singing, competitions. There is a lot of singing all the way through the film, quite entertaining. Those breakdance and step up films created crazes and competitions in real life. Maybe Pitch Perfect will be the impetus for groups to be established and the staging of competitions. They would involve a lot more participants, with more people being comfortable and able as they sing rather than attempting dance gymnastics. That wouldn’t be a bad thing.

Taking the word pitch with another meaning, referring to the way that a potential film is presented to producers and backers, the pitch for Perfect Pitch would not have been an easy one. A movie about college a cappella groups?! Taking its cue from a non-fiction book on this theme, the film is not just about singing, it is a pitch for women singing and competing. A chauvinist leader of the men’s group, The Treble-makers, offers the opinion that women can’t compete because they can’t reach the low-pitched notes. The final competition, of course, puts paid to that theory.

The audience is urged to think about all these issues through the device of having a pair of media commentators at each competition. The style is straight out of Best in Show with John Michael Higgins of that film performing the role that Fred Willard did so well. He is given some outrageously sexist lines and is finally accused of being misogynist by his co-compere, Elizabeth Banks, who can give as good as she gets.

Meanwhile, this is a story about Beca going to college whereas she wants to go to LA to be a music producer. After pressure from her father, she joins the Barden Bellas, the college a cappella women’s group. They are a motley crew, trying to build on their disaster (well, their controlling leader’s disaster) at the previous year’s finals. There is humour in Anna Camp’s tall blonde fascist leader. And there is more humour in the participation of Rebel Wilson as Fat Amy (she calls herself to save others calling her this behind her back). Rebel Wilson, from Sydney and here playing a Tasmanian, has been a standout in A Few Best Men, Bridesmaids, What to Expect When You’re Expecting and Bachelorette. She has quite a few funny lines and situations and audiences warm to her.

Jesse (Skylar Astin) joins the Treble-makers, works with Beca at the college radio station and is attracted to her. She, however, is rather glacial in the relationship department. This is another good turn from Anna Kendrick (appearing in 2012 in 50/50, What to Expect When You’re Expecting and End of Watch).

Because this is a pleasant film, clashes don’t lead to disaster but to friendships and success.

Pitch Perfect is a pleasant surprise.

1. A cheerful film? Joy and exuberance? Music, choirs? Song?

2. The college story, the groups, the students, the dormitories? The blend of the real and the fairytale? Carolina settings? The university? Lincoln Centre?

3. The range of the score, the range of different performances, interpretations, lyrics and choreography?

4. The songs pervading the film, rehearsals, competitions, performances? The individuals, their gifts, working as a team, collaboration, the diva personalities, tensions, working together?

5. The introduction to the Treble Makers, Bumper, his self-confidence, their performance, winning? The introduction to the Bellas, Aubrey, her leadership, the vomiting and audience reaction? The sense of failure?

6. The commentators, their dialogue, the parody, the misogyny, the ironic remarks? Punctuating the film?

7. Beca, arriving in the cab, seeing Jesse singing? Her roommate, laconic? Her father working at the university, his pressure on her to stay at the university, his promise that she could leave at the end of the year if she wished?

8. The groups in the grounds? The parody of the Deaf Jews? The various pitches made? Jesse and his roommate Benji (and the magic)? The choirs, Fat Amy and her response to the Bellas?

9. The audition sequence, the range, Beca being persuaded to come – after Chloe and the encounter in the shower?

10. College life, not seeing any classes, the rooms, the radio, the stacking of the CDs, the disc jockey, the tension between Jesse and Beca?

11. The Bellas, the choice, the oaths? The Treble Makers and the antipathy between the two groups? Aubrey, her personality, her control, her talking about her father and failure? Her expelling people who did not live up to her rules?

12. The practices, the style, the hands together, one two three? The build-up to the regional competition, the failure?

13. The scene with the groups and their riffing off each other, the range of songs, the popularity, responses?

14. The Bellas and the personalities? Aubrey, bland yet in control? Chloe, the shower, the nodules on her vocal cords? The voiceless girl? Fat Amy and the comic touches, the exercises, cardio? The black lesbian? The glamorous girl? Their interactions and jokes?

15. The Treble Makers, Bumper, the misogyny, Jesse and his place in the group, leading, Bumper and his going to Los Angeles, the group’s reaction, Benji and his being invited in – and his performance at the final competition?

16. Beca, changing, with her father, their talk, the DJ and his letting her be a DJ during the vacation? The rehearsals, the vomiting, the comic touches with the voiceless girl falling? Aubrey and her being challenged? Beca leaving, returning, her becoming the leader? The choices of the songs, the choreography – and not just simply repeating the past?

17. Beca and Jesse, her being hard, his wanting to educate her in videos, The Breakfast Club and the final song, her alienating him? At Lincoln Centre? His performance with Benji? Her using the song from The Breakfast Club (after watching it and shedding a tear)? The reconciliation?

18. Lincoln Centre, the humorous commentators, the performances, exuberance?

19. The year starting again, the auditions – and the Bellas having achieved their success?

SMALL TOWN GIRL

US, 1936, 106 minutes, Black and white.
Janet Gaynor, Robert Taylor, Binnie Barnes, Andy Devine, Lewis Stone, Elizabeth Patterson, Frank Craven, James Stewart, Isabel Jewell.
Directed by William A. Wellman.

Small Town Girl is the familiar story of the young woman, living in a very small town, feeling the constraints and wanting to get out. She is played by Janet Gaynor, first Oscar winner for best actress in 1928 (Seventh Heaven, Sunrise, Street Angel). Her leading man, a suave doctor from the city who, getting drunk, marries her on impulse, is Robert Taylor at the beginning of his star career. The film has a good supporting cast including James Stewart in an early role (one of nine listed for his career in 1936). Lewis Stone is Robert Taylor’s father. It is interesting that Janet Gaynor lives in the town of Carvill, which was to become the home town of Lewis Stone and the Hardy family.

The film’s focus is on Janet Gaynor, agreeing to keep up a facade of marriage for six months when the marriage will be dissolved and Robert Taylor can marry his fiancée, Binnie Barnes (completely unsympathetic). Janet Gaynor portrays the earnestness of the young woman, keeping up the facade, yet in love with Taylor. The ending – predictable – is rather too hurried.

The film was directed by William A. Wellman, the air ace from the First World War who made many films about that war. His film, Wings, won the first Oscar for best film. He made many notable films ranging from The Oxbow Incident, A Star is Born (for which he won an Oscar for screenplay) and The High and the Mighty.

1. A popular type of story of the 1930s? The girl in the small town? The rich doctor from the city? Infatuation, disillusionment? Love?

2. The recreation of the small town, near Boston, the contrast between the shops and ordinariness in Carvill with the life in Boston, society? Apartments? Parties? The hospital? The musical score?

3. The opening, Kay and her watching all the undergraduates travelling for the football match? Her work in the shop? Her impatience? The contrast with Emily and her settling down with George? The baby? Life at home, the parents, the routine, Kay’s rebellion against everything being the same? The attentions of Elmer, his earnestness?

4. Her going for the walk, the encounter with Bob? His calling her Goodness? Directing him to the tavern? The champagne, the dancing? His being drunk, his decision to marry, the justice of the peace, the media? Crashing the car? Waking, his not remembering?

5. His going home, his possible career, at the clinic? The disappointment of his parents? Introducing Kay? His facing the media? The phone call to Priscilla, the engagement? The decision to keep up the facade of a marriage? The honeymoon? Six months, the plan for the annulment and remarriage?

6. Kay’s character, small town, wide-eyed, amazed at what happened to her? Her friendship with the Dakins and their concern for her? Her attentiveness to Bob? Her going along with the plan? Her anger with Bob? The wedding, the honeymoon on the yacht? Settling in the city, the apartment? Separate rooms? Her going to the clinic, Jimmy? The social, Priscilla returning, her looking at what Kay was doing? The phone call in the night, Bob and his lying, her going to the apartment, going with Bob to hospital, watching the operation, his failure? Bob and his suggesting that the time was up, her going back home, life back at home, Elmer and his attentions? Bob and his arrival, the very quick happy ending?

7. Bob, Robert Taylor and his style, the doctor, the Ivy League background, wealth? At the clinic? The supervising doctor thinking him unreliable? His decisions, the facade of the marriage? With Priscilla? His going to her apartment, Kay finding him and taking him to the hospital, his withdrawing from the operation? The planned marriage, Reno? His arrival in Carvill and the happy ending?

8. Priscilla, wealthy, controlling, the other woman? Her agreeing with the facade? Her trying to break down the barriers?

9. Doctor Dakin, his wife, their integrity, sympathy for Kay?

10. The Brannans, life at home, George and Emily? The parents? The routines? Elmer and his job as a linesman, salary, attentiveness to Kay?

11. The hospital background, this kind of theme popular in the 1930s?

12. Romance, frustration, true love?

IRONCLAD

UK, 2011, 121 minutes, Colour.
James Purefoy, Brian Cox, Kate Mara, Derek Jacobi, Paul Giamatti, Charles Dance, Jason Flemyng, Jamie Foreman, Mackenzie Crook.
Directed by Jonathan English.

Ironclad is a story of the Magna Carta, King John, the suppression of the Magna Carta and the revolt of the barons. It is presented vividly, with some accent on the gorier aspects of battles and vindictiveness in that era.

The film was directed by Jonathan English who directed Minotaur as well as a sequel to Ironclad: Battle of Blood.

The film features James Purefoy as a Knight Templar, with a vow of silence, intent on his keeping his vows and his loyalty to the rebels. Brian Cox is the Duke of Aubigny, leader of the rebels. Derek Jacobi is the Duke of Cornhill, occupier of the Castle of Rochester which holds out against King John – who is played, unexpectedly, by Paul Giamatti. Kate Mara is the Duchess of Cornhill and Charles Dance is Archbishop Langton of Canterbury. The rebels include character performances, typical of their careers, by Jason Flemyng, Jamie Foreman and Mackenzie Crook.

The bulk of the film is the detail of the siege of the Castle of Rochester and the lengths to which a small band of rebels go to preserve the castle.

1. Audience interest in mediaeval history, mediaeval society, military exploits? Magna Carta?

2. In the British monarchy, King John, his being forced to sign the Magna Carta, the failure of the document? The rebellion of the barons?

3. The 1215 setting, the south of Britain, Canterbury, Rochester, the detail of the castle? The musical score?

4. Audience knowledge of the background of Magna Carta, the opening credits sequences, John signing, the barons putting pressure, John’s reaction?

5. The character of John, his talk about his father and his discipline, his relationship with Richard, succeeding to the throne, a king and tyrant, his battles, sexual liaisons, hold onto power? His treatment of the barons? A small man, truculent and resentful? Employing the Danes as mercenaries, his lies to them? The pope annulling the Magna Carta? The French and their attack on England, yet his pride in his French heritage? The decision to lay siege to Rochester? His strategies, his soldiers, the battle tower? His whims, his cruelty, cutting off hands and feet? His defeat? His philosophy of the divine right of kings? The story of his death?

6. The Duke of Albany, representing the barons, his merchant background, John’s despising of this, the going for democracy, the strategies? His squire, the injunctions of Archbishop Langton, Marshal working with him? Going to the towns, his friends, their paying their debts and going with him? The ethos of the rebellion? His being wounded, his limbs being cut, his death?

7. Archbishop Langton, Archbishop of Canterbury, supporting the Magna Carta, the reaction of Innocent III, the threat of excommunication, the annulment of the Magna Carta? His sympathy with the rebels? Enlisting the aid of France?

8. The opening of the film, the abbot, travelling with the Knights Templar, going to castle, his arrest, the accusation of treason by King John, the betrayal by the duke, the duke being hanged? The abbot and his tongue being cut out? His death?

9. Marshal and the Templars, their vows, hard men, in the Crusades, on the side of the rebels? Capacity to fight? The vow of silence? Going to Rochester, John’s men being there, the fight and his taking the castle? His leadership? The reaction of the Duke of Cornhill? His wife and her infatuation? Preparing for the siege, training the men? Especially Albany’s squire?

10. Albany, his personality, the merchant, his recruiting his friends, the various types? Becket and his womanising and rough manner? Coteral and his family? Marks and his skill with his arrows? The spies in the town, informing on the Duke of Albany, occupying the castle?

11. The major part of the film devoted to the battle, its detail, the defences of the castle, twenty men, their skills? John, his numbers, the Danes and the leadership by Tiberius? The fireballs, the crashing of the ramparts, the defence by oil, arrows? The ladders? Swordfighting, hatchets?

12. The ebb and flow of the siege, building on their resources, the stone thrower from within the castle? The military tower – and its being burnt?

13. The final attack, the deaths, the torture of the men, the holding of the keep?

14. Marshal, his serious personality, Isabel and her reaction to her husband, talking with her maid? The infatuation with Marshal? Breaking his vows and his response? Isabel fighting with the men? The duke, his wanting to surrender, his hanging himself?

15. The final defiance? The arrival of the French?

16. John, what he had achieved – and the pathos of his death?

17. The value of this kind of realistic recreation of particular battles in history?

PARIS – MANHATTAN

France, 2012
Alice Taglioni, Patrick Bruel.
Directed by Sophie Lellouche.

Another very French romantic comedy.

The Manhattan reference will immediately alert potential audiences to a Woody Allen connection. And, it is more than a connection. Woody Allen’s presence and quotations from his films (with attention to a large poster on the wall who seems to talk (with quotes from his films to the I-want-to-be-alone heroine) pervade the film and the consciousness of its main character, Alice. She shows us how she was influenced by his movies as a girl. As an adult she goes to see his movies again and again, converses in her imagination with him and the film uses the device of Alice and ourselves hearing his voice from quite a number of his movies.

Alice is a loner. She is awkward in relationships. This does stretch our credulity more than a little because Alice Taglioni is one of the most attractive of French stars we are likely to see on the screen! So, allowing for that, we follow her clashing with her married sister, pestered by her father as to why she is not married. She works at his pharmacy and he retires leaving it to her. At parties she is awkward. After leaving one she misses a taxi and finds herself chatting to Victor (Patrick Bruel), an ordinary kind of man who installs security devices, including in her father’s house. We know that they are destined for love, despite Alice’s ultra-resistance and the fact that Victor does not know Woody Allen’s films – though he finally more than makes up for this.

This means that there are some entertaining moments between Alice and Victor as they take each other for granted, though he is really entranced by her, and eventually, with the help of Woody Allen, Alice’s eyes are opened and she realises where her life should be going.

It is easy to say that this is just another French romantic soufflé, but this one has some good things going for it.

1. A portrait of French life, Paris life, Jewish background, romance, the light touch, froth, the finale?

2. The homage to Woody Allen, his kind of film, French style? The French sensibility, Alice’s voice-over, the quoting of particular Woody Allen films, their influence? Her world view, her poster in her room? Woody Allen talking – the quotes from his films? His values? His interrogating Alice, issues of life, death, relationships? The film clips? The clip from Everything You Wanted to Know About Sex, Gene Wilder and the sheep? The image of Woody Allen? Her growing out of his influence? His final appearance, the conversation with Victor, meeting Alice, urging her on, his going off in the taxi? The presence of Woody Allen and its impact?

3. Alice, at fifteen, the Woody Allen films, her relationship with her sister, with her parents? Her dating Pierre? Helene, coming into the club, Pierre’s attraction, the marriage? The passing of the years? Alice and her brittle personality despite her appearance? The work at the pharmacy? Home, alone, listening to Woody Allen? Pierre and his arranging the date with Vincent, her going out with Vincent? The meeting with Victor, his jobs, security, her leaving the party, his talking with her, walking? The discussions about Woody Allen? Her taking Victor for granted? The robbery, the chloroform, the thief and the DVDs, her giving the thief the Woody Allen films – his returning them and her letting him keep them? Victor seeing Helene, the ménage a trois, her surprise? Discussions with Victor, his kiss? Her worries, wanting to see Woody Allen, giving up? The spying on Achille with Helene, Achille giving her the lift, the scooter? Woody Allen having gone? The hotel, his return?

4. The family, her father and his concern about his daughter, wanting her married off? Giving her the pharmacy? Giving out the cards? Her mother, drinking? The father caring for his wife? The family love?

5. Helene, the arguments, the clashes, Pierre, the wedding, Helene as a lawyer? Laura as a teenager? Around the house? The concern about Achille, going to spy on him? The true story – and Laura and Achille dancing in the street? Her relationships, at the hotel, with Pierre and the callgirl? The reconciliation with Alice?

6. Alice and her life, the customers in the shop, Victor and the chloroform?

7. Victor, his not knowing Woody Allen, his work, ordinary citizen, friendship with Alice’s father? Talking with Alice, helping, the love, her not realising it? His getting her to come to see Woody Allen?

8. The Woody Allen experience? Woody Allen’s words, the kiss?

9. Alice’s change, discovering the truth about herself, her love for Victor – and a happy ending and the happy future?

PATRICK

Australia, 2013, 90 minutes, Colour.
Charles Dance, Rachel Griffiths, Sharni Vinson, Damon Gameau, Jackson Gallagher.
Directed by Mark Hartley.


This reviewer has not seen the original film of 1978, its first release. This review will not be a comparison with the original film. After the review, a look back to the 1978 review of Patrick.

One of the advantages of a re-make is that the director and writer can take advantage of developments in camera equipment, styles of photography, in editing and pace, in special effects. This is certainly the case for this film. The photography is mainly dark and gloomy, creating the atmosphere of the old convent which has become a centre for research on comatose people and the possibilities of bringing them back to consciousness. The environment is not much cheerier, coast road, clouds, rain, fog. And within the convent, still with its many statues of the Sacred Heart, Mary, St Joseph, crucifixes, it is always very dark and eerie.

This is important because the head of the Institute, Dr Roget (Charles Dance) is urbane in a British kind of way, accent and all, and seems dedicated to his work. but, he is, of course, a mad scientist. His assistant in the Institute is his daughter Julia (Rachel Griffiths), who for most of the film is being the stereotypical hard matron, starchilly repressed. But, she has some more active moments at the end of the film.

However, the audience sees everything through the eyes of an eager young nurse, Kathy, played by Sharni Vinson, who becomes involved with the central patient, Patrick (Jackson Gallagher), a young man lying immobile, eyes open, but seemingly without consciousness. It soon appears that he does have consciousness with telekinetic powers. They are not the just the traditional powers, but an ability to use his power links to a computer to communicate in words appearing on the screen – not something possible in 1978.

Kathy is advised to socialise by Nurse Williams, the other member of the staff, a cheery young woman who does not take work over-seriously. She and Kathy meet Brian, a psychiatrist, rather flirtatious and interested in a relationship with Kathy. This leads to some danger for Brian and, ultimately, his death. Also in the picture is Kathy’s former boyfriend, Ed (Damon Gameau), who also becomes the victim of telekinetic violence. And it all builds up to a hyper-melodramatic finale.

The director is Mark Hartley who made the very interesting documentary on Ozploitation movies, Not Quite Hollywood (narrated by Quentin Tarantino). The film opens with the conventions of dark mansion, mysterious laboratory, mad doctor, of the odd goings-on, then it moves more and more into some shock-horror moments - and really goes fairly bonkers towards the end. The audience will laugh at various times, sometimes from the pleasure of a shock which makes them jump, sometimes with the kind of spoof treatment of the theme, other times with some really ludicrous lines. But, we can suppose that this is what the filmmakers intended, and atmospheric and sometimes tongue-in-cheek hoot.

1. The original film in 1978? 21st century re-make possibilities: plot, characters, horror sequences?

2. Grand Guignol? Telekinesis? Mad doctors? Psychological and physical murderous mayhem?

3. Introduction, the eerie corridors, the dark, the nurse, photographing, corpses, the attack in the eyeball? Creating the mystery?

4. Credits, the collage of headlines about Dr Roget’s work? His expertise? Issues finance, his expertise, the focus on coma, bringing people to consciousness, his adviser, the board? Dr Roget and his self-image?

5. The experiments, the variety of ways in which the victims were injured, unconscious, in the dormitory, still alive, the use of technology, laboratories?

6. Kathy’s arrival, driving along the coast road, the gloom, being early, Julia’s reaction? Interview, her qualifications, accurate answers? Her being hired? Response to the doctor, to Julia?

7. Nurse Williams, bright, the tour of the building, the old convent, the religious statuary, explanations of the routines? Kathy’s room, settling in? Williams and the invitation to go out?

8. Brian, psychiatrist, flirtatious, the past with Williams, the invitation to the meal, Kathy meeting him in the gallery, spitting, his apology, cooking, the injuries to his hand, going to hospital? Phone calls, in the car, loss of control, the seatbelt, going over the cliff?

9. Patrick, age, appearance, the mystery about his life? Attractive? The reflex spitting, Kathy testing for yes and no? The electric shock treatment? Its effect? His communicating via computer? Kathy’s initial compassion, but the audience knowing his murderous behaviour? Kathy trying to save him? Julia’s reaction? Documents from Julia,, the revelation of his true self, his trapping Ed, controlling?

10. The flashbacks, his relationship with his mother, her harshness towards him, the sexual aspect, his electrocuting them, the continued return to the death scene, naked, his suicide attempt? The deadline choice between you and himself? Kathy’s choice? the old man, injuries, the lighthouse, 7 o’clock, his warning Kathy and the news of Brian’s death, Cathy waiting for lights off at 7 PM?

11. Ed, the clash with Kathy, his arrival, talking, the meal, his burnt hands, the hospital, and calls, going to the building, his being trapped?

12. Kathy, the experience at home, car, the shattered glass? Williams and her being possessed by Patrick, her falling into the shaft? The patients, the chant about the hand job? Ed and the choice?

13. Dr Roget, tracked, finding Julia, the previous talk and Julia attacking her father, his dominating her mother? The electrodes for his death?

14. Julia, a change of heart, trying to kill Patrick, her own death?

15. The finale, Kathy free, Ed free, the nightmare and her taking over from the doctor? The happy ending?

KILL YOUR DARLINGS

US, 2013, 104 minutes, Colour.
Daniel Radcliffe, Dane de Haan, Ben Foster, Michael C. Hall, Jennifer Jason Leigh, Kyra Sedgwick, David Rasche, John Callum.
Directed by John Krokidas.

In recent years there has been a greater interest, at least in films, with the members of the so-called Beat Generation: Jack Kerouac, Allen Ginsberg, William Burroughs. While there had been a film about Kerouac in 1980 with Nick Nolte and Sissy Spacek and there was a 90s version of William Burroughs’ The Naked Lunch, within a year we have had Kerouac again in On the Road, Ginsberg in Howl and the three named above now in Kill Your Darlings.

Younger audiences may not be aware of them and their influence in the 1950s and 1906s and the recent films may be something of a revelation, a discovery of a group who wanted to challenge conventional values. Some older audiences might resonate and see them as a precursor of the hippy generation, even though they lived beyond that period. Older audiences might see them as nuisances, full of themselves and their concerns, enjoying ideas and moments of anarchy and needing to grow up which, sometimes, they did.

The focus of Kill Your Darlings is the killing of a gay man, David Kammerer, by his young protégé, Lucian Carr in 1944. The prologue of the film shows something of the killing, Carr in gaol and his friendship and relationship with the young Allen Ginsberg. The film then goes back to offer a portrait of Ginsberg, his studies at Columbia, which ended in expulsion, his being introduced to the Carr, Burroughs’ word, his self-discoveries, including unconventionality, his poetic talent and his sexual orientation.

The film is aimed more at an arthouse audience than audiences in the multiplexes. The first twenty minutes or so with its emphasis on poetry and quotation from poets, the formulation of a New Vision (and anti-censorship stances), may be somewhat alienating. However, the screenplay is literate and has interesting lines, like that of the conservative professor of literature who announces ‘no creation without imitation’.

The story and the characters get tangled in protest stunts at Columbia, family difficulties, emotional dependence, and issues of World War II and the war in the Pacific. Then we are back at the killing of David Kammerer and the consequences.

The casting is certainly of interest. Daniel Radcliffe, looking considerably older, is Ginsberg. However, it is Dane de Haan as Lucian Carr who gives a more striking performance, sometimes a more dominant performance. Dexter’s Michael C. Hall is Kammerer, devoted, sometimes desperate, sometimes pathetic. The usually wildly sinister Ben Foster is surprisingly calm in an effective portrayal of the young William Burroughs. Jack Huston is an enigma (even to himself, sportsman, married, yet caught up with this Beat group leading to his subsequent career). Times move on and Jennifer Jason Leigh and Kyra Sedgwick portray Mrs Ginsberg and Mrs Carr.

The film brings to life these characters, their behaviour and their times.


1. The history of the Beat generation in the United States, poets and novelists? Audience interest in them? Background origins? The challenge? In their times? Later?

2. Audience knowledge of these writers? The range of films about them? The characters, background, lives?

3. The title, as explained in the poetry class, killing favoured stances to make new ones?

4. The prologue, Lucien, Lucien, holding David in the water, drowning him? In prison, Allen and his visit, the discussions, Allen bringing the document, his taking it away?

5. New Jersey, 1943? Suburbia? The atmosphere in the house? Allen, his age, at home, his mother and her madness, Louis and his writing, the significant poet, discussing the quote with his son? The application for Columbia, the letter, Allen going? The phone calls to home? His mother, her demands and his putting her off, her going to the institution? Louis and his new woman? The 1943 setting and atmosphere?

6. Allen at Columbia, meeting David, meeting William Burroughs, the classes? The Professor, Lucien watching him in class? The new friends?

7. Poetry, emphasis in the first 20 minutes of the film, the focus on Yeats, the New Vision, the phrase ‘kill your darlings’? The professor and his traditional approach? ‘No creation without imitation? The students and their attitudes of rebellion, wanting some revolution, rules and freedom, touches of anarchy? The tour guide and the manuscripts, the plan to steal the censored material, the group in the library, Kerouac and his charming the librarian, Allen and his attempt, the avid response of the girl, taking the key, making the impression, the return, the escapade, stealing the manuscripts, there being informed on, the security coming, blinding them with the light, the escape? Substituting the censored material for the classics?

8. The dean and the professor, interviewing Allen, his taking the blame, his father arriving with a new friend, Lucien’s mother, the discussions with the Dean, the background of Chicago? The disdain for Allen? later relying on him?

9. The introduction to Jack Kerouac, in the bar, the photos on the wall, his sportsmanship, meeting his wife, his mother-in-law, the clashes with his wife, the cooking, his wanting to go out? the comment about his Catholic background yet his permissive behaviour? His sexual behaviour, the relationship with Lucien? The importance of his friend, Sam, and his experience in the South Pacific, sending the disks, telling his story, the second disk and the indication that he was to die? Kerouac and his enjoying the anarchy, participating in the stealing of the documents? His friendship with Allen? The aftermath of David Kammerer’s death? The annulment of his marriage, his going on the road and his writing his classic?

10. Lucien as an 18-year-old, his mental states, moving around, the episode in Chicago, the suicide attempt? The friendship with David, David saving him, protecting him, the sexual relationship? His touch of anarchy? Allen, the relationship, best friend, Allen loving him? His wanting to escape, the relationship with Jack, sexual or not, the going to the Navy? David coming to the centre, protesting his love? Writing essays for Lucien? Lucien spurning him?

11. David, his background, his life, meeting Lucien, devoted to him, the sexual liaison, his desperation, leading to the confrontation, Lucien’s attack, the violence, in the river, his death?

12. Allen and his experiences, in relationships, with Lucien, indicating to David where Lucien was, the death, his decision to write the document, submitting it as his assignment, the discussion with the dean and the professor, his choosing to be expelled? The professor later sending the manuscript? His discussions with his father? Going to visit his mother, her being sane, her views on life and on Allen? The bar, picking up the man, the homosexual encounter, Allen and his sexual identity?

13. The place of William Burroughs in this group, silent and severe, controlling, participating in the stealing of the manuscripts? His drug deals? His wealthy father? His later career?

14.The recreation of the times, the 1940s, the mores, the war, the writers being ahead of their times? Their careers in the 1950s? The Beat generation? The 1960s and the greater freedoms, the hippy movement?

15. The men growing up, Kerouac and his career, Lucien and his time in the reformatory, his long life, marriages and children? Burroughs and his reputation? Writing the Kammerer story with Kerouac and the delay in its being released?

16. Allen Ginsberg and his life and career, the poem, Howl, the court case, his reputation, awards, causes?

THE NAVY COMES THROUGH

US, 1942, Minutes, Black and white.
Pat O’ Brien, George Murphy, Jane Wyatt, Jackie Cooper, Carl Esmond, Max Baer, Ray Collins.
Directed by A. Edward Sutherland.

The Navy Comes Through opens in 1940, with an accident aboard a ship, the captain, Pat O’ Brien in his sternest leadership manner, taking a severe stance on the behaviour of the officer played by George Murphy, whom he dislikes, especially as his sister, Jane Wyatt, is sweet on him. Murphy leaves the Navy and disappears. But ware breaks out, O’ Brien is in charge of a merchant Navy ship and Murphy has reinlisted – and Jane Wyatt has also enlisted as a nurse. For the plot’s sake, they all find themselves on the one ship.

There is action in the north Atlantic, especially a submarine attack where the Navy men have to work hard on their timing in order to succeed with firing at ships and submarines. The men have formed a group, some leadership with an Austrian violin player excited by the Nazis, Carl Esmond, and a rough and ready sailor played by former boxing champion, Max Baer. The merchant captain is played by Ray Collins.

The key event is the taking of a German ship, disguised as British, which is carrying torpedoes to various submarines in the Atlantic. Murphy realises that the Germans have set a torpedo on their ship to destroy the Americans but finds a way to dismantle the torpedo. Murphy also suggests, and O’Brien? agrees, that they should pursue the submarines, pretending to deliver the torpedoes, and destroy them. O’ Brien lets Murphy take charge – with a happy ending for all concerned, O’ Brien mellowing, Murphy being exonerated, and happy romantic ending for the couple.

Later, Warner Brothers were to do something along these lines with action in Action in the North Atlantic with Humphrey Bogart. But, this is an early contribution to morale-boosting and patriotism at the beginning of American involvement in the world war.

1. A film of its time? American pride in the Navy? Action in World War II? Morale-boosting and propaganda?

2. Hollywood stories, the conventions of the Navy, action at sea? Commanders and subordinates? Romance?

3. The initial crisis? The accident on the ship? The stern standards of Mallory? By the book? Tom Sands and his initiative? The accident? The death of those who could witness to his command? His dishonourable discharge?

4. Mallory and his relationship with his sister, his dislike of Sands, her love for Tom? His disappearance?

5. The bombing of Pearl Harbor? The destruction? Roosevelt and his declaration of war? The enlistments?

6. The merchant Navy, transporting supplies across the Atlantic, the co-operation with the Navy? Mallory in charge? His relationship with the captain? The sailors arriving, the drink in the pub, the notice of the loose lips sinking ships and their talking too loudly, the spy and his transmitting the information? The submarine attack?


7. Myra and her being appointed as a nurse, the farewell to her brother, discovering Tom was on the ship?

8. Tom and his reputation, the men disliking him? The issue of the bunk? Mallory and his going by the book, even with Sands? Berringer and his size, comments? The men interested in baseball and scores Western Mark? The Austrian, the musician, his playing? His hand been wounded? The Cuban, coming to save America, his singing? The young man with ambitions, the farewell to his mother, Mallory sending him back to say a proper farewell and a kiss, his studies, Sands helping him, the radio, baseball information, German information?

8. The submarine, the confrontation, the destroying of the submarine? Mallory dissatisfied and making the men drill? The collapse of the man? The need for hospital attendance? Myra coming to the ship?

9. The information about the delivery of torpedoes, the captain agreeing with Mallory, Sands’ idea, to take over the ship, suspecting that the Germans had set a torpedo trap, dismantling? The taking of the German crew as prisoners of war?

10. Sands’ idea of pursuing the submarines, Mallory putting him in charge, yet the reputation of having run away – in order to save Myra? The men not knowing this?

11. The two submarines and their attack, the German impersonations, the training with Heil Hitler, the Germans recognising the violin player, the double attack but the Americans defeating them?

12. Sands’ heroism, Mallory’s recognition, the official re-in statement, and the happy romantic ending?

13. This kind of film in retrospect, in the history of Hollywood, as war propaganda in comparison with other propaganda movies?

FALLOUT

Australia, 2013, 86 minutes, Colour/Black and white.
Directed by Lawrence Johnston.

What an interesting documentary!

Lawrence Johnston made a number of interesting short films in the 1990s, especially Eternity, his evocative and poetic documentary on Arthur Stace, the man who went around Sydney writing the word ‘Eternity’ on footpaths and walls. This time he turns his documentary attention to Melbourne. As the title indicates, there is a focus on the consequences of the dropping of a nuclear bomb. But the even more particular focus is on the dropping of the bomb and the end of the world in the novel and the film version of Neville Shute’s On the Beach.

By the end, the audience is amazed at the amount of footage that Johnston has found and assembled, the film being a fine example of what one can do with archival material. It is always interesting and, very often, quite evocative. And, in just under 90 minutes, Johnston has really made the equivalent of four films in one, so full of information and insight is the film.

First of all there is the brief history of the development of the atomic bomb, the Manhattan Project, the dropping of the bomb on Hiroshima, the visuals of destruction, the close-ups of people suffering from radiation, the information about the reality of the destruction and the radius of collapse and death from the centre point. There is the development of the cobalt bomb, the tests throughout the world and in Maralinga, South Australia, with the Menzies government interests in participating in nuclear development. And there are the American fears, the familiar scenes of that ‘Duck and Cover’ commercial to warn people for their safety. And the film opens with a very sobering reflection about the future of the nuclear age and potential for destruction spoken by John F. Kennedy.

Then there is a biography of Neville Shute. Once again, this is particularly interesting, with commentary throughout the film by journalist and author Gideon Haigh, with intelligent insights, as well as from Shute’s daughter, Heather, also articulate and intelligent on her father, his work, and On the Beach. Johnston uses footage of England at the beginning of the 20th century to illustrate Shute’s origins, his work in the air industry, especially for the development of air ships, establishing his own company, his war service among the intelligence boffins, his disillusionment with England under Atlee, his decision to migrate to Australia, his settling in Frankston, the farm in Langwarren. And, all the time, his writing and his popularity and success.

Stanley Kramer, the producer of On the Beach, also gets a brief biography, glimpses of some of his social-minded films, including Guess Who’s Coming to Dinner, scenes from a documentary about him, his acquiring the rights for On the Beach, the decision to film it in Melbourne, the rejection by the American navy for help and his appeal to Robert Menzies who agrees to contribute, and the marketing of his film and its ultimate success. His wife Karen also contributes a great deal of commentary to this documentary.

Fallout also serves as a mini-documentary about the making of On the Beach, the decisions about production, the arrival of the stars, scenes on the Mornington Peninsula, especially Canadian Bay, of the filming. There are interviews with Gregory Peck, Ava Gardner, Fred Astaire, many scenes with Anthony Perkins but no mention of him by name. Donna Anderson was introduced in the film and is one of the talking heads in Fallout. One gets quite an impression of the film, its plot, the drama about the nuclear destruction of humans, an empty San Francisco, the empty Melbourne streets, and the human drama of the romance, the submarine leaving Melbourne, the young couple and the challenge about their baby, having to kill her so that she may not linger after they both have died.

Neville Shute did not like the adaptation for the screen, was critical of Stanley Kramer in correspondence. He did not attend the premiere and died three weeks later, his daughter suggesting that the experience of the filmmaking caused his illness and led to his death.

The film is also something in a documentary about Melbourne in the late 1950s, many visuals, focus on the city, its use in the film, especially for the clearing of the streets for the aftermath of nuclear destruction. It also shows Melbourne’s obsession with celebrities, the pursuit of Ava Gardner by the media, a cultural cringe to the United States, the contribution of the government to the making of the film.

As mentioned, the running time of this documentary is brief, but it incorporates a great deal of material, all of it interesting.
1. A quality documentary? The capacity for documentaries to communicate insight visually, the use of archives, interviews, clips? History and the recapitulation of issues? Nuclear issues from the Manhattan Project to the dropping of the atomic bomb? Kennedy and his vision, fears and the duck and cover song? The life of Neville Shute and his career? The work of Stanley Kramer, film-making in detail? Australia, Melbourne, celebrities, the making of on the beach? The reactions to On the Beach? All within 90 minutes?

2. Lawrence Johnston and his career, documentaries?

3. An Australian story, issues, world issues, Neville Shute in Australia, the location for On the Beach? And location filming?

4. The narratives, themes and consequences? The introductory interviews, setting the themes?

5. The nuclear story, New Mexico, Robert Oppenheimer, soldiers and weapons, observation of the tests, the clouds going to Utah, loyal Utah, the effect? The visuals of Hiroshima, the explanation of the detail and intensity of destruction? The effect on people? Discussions of the cobalt bomb? Tests? Maralinga, the Australian Liberal government, nuclear political play at the time? Neville Shute’s reaction, novel, film? The implications about its release and American attitudes towards defence and bombs at the time? JFK speaking at the opening of the film?

6. Neville Shute’s story, the interviews with his daughter, the commentary by Gideon Haigh, Shute and his family, going to school in Ealing, the usual aspects of the British School, his work, going to museums, interested in flight, engineering and Oxford, the construction of the saplings, the R 100 and disaster? Owning his own company, become one of the World War II boffins, the D-day vehicles? His reaction to Atlee as Prime Minister, the issue of taxes, interest in Australia, flying, the decision to move, going to Frankston, the farm at Langwarrin, his writing, going to the farm in the afternoon, his health, heart condition? A somewhat irascible personality?

7. The range of novels, their popularity, message, the critics and his ignoring them? The 1950s, On the Beach, his proprietary rights, selling them to Hollywood, the details of the clash with Stanley Kramer, not going to the Premier, his death soon after?

8. The story of Stanley Kramer, his career, a message filmmaker, as producer, the background of Guess Who’s Coming to Dinner? The rights to On the Beach, an American cast, locations in Australia, wanting a submarine, the American navy refusing, Robert Menzies agreeing? The filming, the difficulties with Ava Gardner, the publicity? His achievement?

9. The Melbourne locations, the Mornington Peninsula, Phillip Island and the racetrack, the scenes of the empty city?

10. The cast, Gregory Peck, the interviews? Ava Gardner, the media, the quotes real and fictitious? Fred Astaire and his appearing in a serious role, his discussions about this? Donna Anderson and her observations, memories, the interviews? Anthony Perkins and his appearance, not named? The Australian supporting cast?

11. Filming the scenes, the clips, the narrative, the scene in San Francisco, the scenes in Melbourne, Gregory Peck and Ava Gardner and the relationship? The remance, for the audience, but not for Shute? The final separation, death and the submarine sailing away? The couple and the party? The discussions and Fred Astaire’s character blaming himself? The scene with the crew? The couple, their baby, the issue of their death and so killing the baby?

12. Box office prospects, advertising, the reviews, the claim?

13. This documentary combining personal, biography, world issues, politics, cinema? And the title, Fallout?