I AM A GIRL

Australia, 2013, 88 minutes, Colour.
Directed by Rebecca Barry.

I Am a Girl is a brief documentary focusing on six young women in different countries around the world. The director, Rebecca Barry went with her team photographing the different countries and the countrysides with great beauty, but sometimes they are sometimes sinister as in Cambodia, sometimes, as in Sydney, very ordinary.

The six girls chosen came from the United States, Afghanistan, Australia, Cameroon, Cambodia and Papua New Guinea. Some of the girls are still at school. Some did not have the opportunity to study, although the girl from Afghanistan is making a somewhat defiant stance in pursuing her education. For several of the girls the issue of self-confidence is very important, the African American girl from New York City moving out into the world, the young girl in Sydney still at school but having suffered from bipolar disorder and depression.

Sexual issues are important for three of the girls. The young girl from Papua New Guinea, from a village, talks frankly about sexual relationships and permissiveness as well as the severity of her father in disapproving of her behaviour, getting pregnant. Ousted from the house, she goes to the city, marries the young man, gives birth in a long sequence and lives for a happy future. It is the same in the Cameroon except that the girl is Muslim, is a virgin at her marriage, receives instructions, quite severe, especially in subservience to the husband, in preparation for marriage. The ceremonies themselves are very colourful and the girl wants to stay married ‘till death do us part’.

The hardest life is that of the girl in Cambodia. At age 12, her virginity was put on sale and sold for $400 with the man raping her, then offering $100 a month for her to be his mistress. Her mother agrees but asks for an extra $10.00 per month. The mother is poor, dependent on her daughter, not preventing her from living as a prostitute. The young girl herself has a daughter, continually clashes with her mother and her father. With her only prospects being to remain at home as a prostitute or to leave home, she leaves to find a new life.

The film does not aim to find definite conclusions. Rather, it is a series of portraits, a cinema essay focusing on six young women to highlight some of the problems for women in the 21st century, some of the oppression, many of the hopes.

1. An impressive documentary? The perspectives of the director? Female? Perspectives on the central characters? On life? Social issues of the 21st century?

2. The title? The selection of the six girls? The six different countries? Continents?

3. The power of the visuals? The beauty of the surroundings? The scenery and the different countries? The contrast between urban settings and rural settings? Affluence? Poverty?

4. The highlighting of cultural differences? The offering of hope - mostly?

5. The intercutting of the stories, the comparisons between the young women and their attitudes towards life?

6. America, New York City, the Projects? Age, articulate, life, hopes, moving out? Study, writing, music, the self-affirmation, the issue of makeup and appearance? Some confidence? The recording? The Coney Island ending?

7. Afghanistan, the young girl and her four sisters, the positive outlook of her mother, the good father and his support, especially for study? An intelligent girl, positive, teaching English to her sister, the exams, her ambitions, possibly working and will?

8. Australia, Sydney, the suburbs, Katie and her personality, the interview, her explanations of depression, her descriptions, the effect on her, her friend helping with the cooking, her mother and her support, the meal, the graduation sequences?

9. Cameroon, the colour and vitality, the culture, the preparation for marriage, family background, the instruction of the young girl, teaching her to be a good Muslim, subservient, always helping her husband, not creating difficulties? The arrangements for the wedding, the ceremonies, the family, the song, the ceremony itself? Her hopes for the future?

10. Cambodia, the hard life, the girl with her child, the brutal husband, the mother and her complaining, at age 12, her virginity for sale, the man raping her, paying $400, offering a monthly fee, the wife discovering the truth and her threats, the girl’s fear, still working for her mother, her mother’s demands, with her own daughter, the fights, her running away - to what?

11. Papua New Guinea, the girl, genial, explaining her pregnancy, her father’s anger, disapproval, ousting her from the house, the background of her mother and family, marrying the father of her child, husband and wife loving each other, the birth sequence, the subsequent happiness?

12. A cross section of young women from around the world, their status in the 21st century, the freedom and oppression, hopes and fears, achievements, self-confidence?

GRAVITY

US, 2013, 91 minutes, Colour.
Sandra Bullock, George Clooney, voice of: Ed Harris.
Directed by Alfonso Cuaron.

Gravity was a critical and popular success on its first release. It seems that the public was interested in a more the realistic space story.

The 1960s saw great interest in space both in cinema and on television. Star Trek began in that decade and has continued in popularity through many series as well as many cinema features, Star Trek into Darkness appearing only some months before Gravity. The 1960s also saw the release of Stanley Kubrick’s 2001: A Space Odyssey. This was an immense cosmic poem which included an evolutionary sequence, a space station in 2001 and a finale of a psychedelic journey through space beyond Jupiter as well as rediscovering a classical 18th century room setting. The symbol was a vast monolith which represented, if not God, then transcendence. And the film ended with hope and the image of the birth of a star child.

45 years later, and a world that has become accustomed to space journeys and star wars, Gravity seems to be a welcome visual look again at space, 21st century style. While there are elements of a cinema vision in the beauty of the photography of space, space vehicles and space stations, and the gravity-less movement in space which looks like mime and dance, this is a realistic film.

The plot, in fact, is quite slight in its way, the work of director Alfonso Cuaron and his son, Jonas. A spaceship is doing experimental work, one of the experts working on some technical design. There is an explosion, a storm of space debris, and the work and the expedition is imperilled.

With the members of the crew dead, there are only two survivors, Ryan, played by Sandra Bullock, and Matt, played by George Clooney. When Ryan seems to be drifting far from the craft, Matt rescues her. However, a number of difficulties ensue and it is up to Ryan to make a decision to bring the craft back to earth and to survive.

The film has many moments of tension and Sandra Bullock is fine as the strong-minded-astronaut in danger. George Clooney offers his usual pleasant and reassuring presence.

There are some moments when audiences may think that screenplay has become contrived, desperate for a happy ending. However, that is something of a hallucination - but it does provide some almost mystical-like moments, a sense of great solidarity, and reinforcement of the will to live.

The film was photographed in 3 D and the recommendation for the audience would be to see it in that format, giving great depth to the experience of outer space.

It is said that films can make a great impression on a person’s life. This reviewer, having seen Gravity and been impressed, is determined never to go into space. On the other hand, the mysteries of space and its future may well entice younger audiences to look forward to the future - out there.

1. Acclaim for the film? The career of the director? His imagination?

2. Space in the 20th and 21st centuries? Less exploration, more functional, development of technology, projects? Yet the accidents, errors, dangers, human response?

3. Special effects, the beauty of space? The 3 D version? The stunt work? Space, vistas, the machines, the humans, the perspective on Earth?

4. The situation, technological development, the repairs, the connection with Houston, the voices on the radio, the dancer in space, the separation and his death? The attempts to get him again, the failure to catch him? Ryan and Matt, the crew? The work, the talk, the news of the danger, Ryan not stopping instantly, her fall, her fears, talking with Matt, the stories? Her explanations where she was, trying to indicate the location? Matt coming to rescue her, holding her, towing, her weight, the oxygen lessening, her breath? The straps? Matt and his encouragement, genial character, his stories, his decision to unlock himself, urging her to safety, his going, lost in space?

5. Ryan, her work at the hospital, her life, the death of her daughter, her lonely life, driving? Her going into training for space? Her work and skills?

6. Matt as a guide, his stories, losing Ryan? Urging her to go to the Russian vehicle, breath? The interiors of the vehicle, the flames and the fire, her extinguishing them? Her ability to steer the capsule? The tangle of the parachutes? Cutting them off, the escape, travelling to the Chinese vehicle? Her arrival? The temptation to give up?

7. The experience of Matt appearing, talking, friendly, locating the vodka, indicating that taking off was similar to landing?

8. The hallucination, a mystical experience, the need for companionship in space, Ryan and Matt’s support? Preparation for death, today, no one teaching her to pray, her decision?

9. Her leaving, the radio, Chinese voices, landing and the struggle?

10. Her determination, her plan, to get to Earth, to detach, the parachute into the sea? The vivid images of speed in space, flame streaks hurtling towards Earth? The breakup of the debris?

11. In the sea, looking at the land, the water coming into the capsule, the parachute and its covering her, Ryan getting out of the capsule, removing her clothes, swimming, floating, touching the Earth and relishing it?

12. Ryan her ingenuity, sense of wonder?

13. Accidents, explosions, storms in space, debris, dangers? A cinematic achievement?

14. A film saluting the human spirit?

THE FIRST KANGAROOS

Australia, UK, 1988, 100 minutes, Colour.
Dennis Waterman, Chris Haywood, Dominic Sweeney, Philip Quast, Tony Martin, Jim Carter, John Bird, Clarissa Kaye- Mason.
Directed by Frank Cvitanocich.

The First Kangaroos are not the primordial animals on the continent of Australia. Rather, it is the title given to the first team that toured England in 1908-1909 for the establishment of Rugby League.

The film is entertaining in its way, though not all the performances are persuasive and some of the direction looks rather stilted, or designed for a television film. However, it has some verve and belief in Rugby League.

The film takes a poke at Rugby Union, with its somewhat elitist attitude towards the virtue of amateurism and looking down on the mercenary aspects of sports professionals. Entrepreneur, Jim Litigan, decides that the players should be paid, reinforced by the plea of an injured player to the union for some kind of insurance and recompense. For the board, it is below consideration.

Chris Haywood is as vigorous as Jim Litigan. Some of the Australian players are portrayed by young Dominic Sweeney, Philip Quast, Tony Martin. The British are represented by a senior Rugby player, played by Denis Waterman, who laments when people compare his performance to his heyday, a word that he detests. Other character actors, when they were young, include Jim Carter and John Bird.

The writer-director is Canadian but obviously has a passion for Rugby League. The budget seems to be small becaurse the screenplay leaps at times without any sequences showing the development on screen. This is also true of the football matches, rather limited on screen.

However, the film will please fans of Rugby League, heightening the contrast between League and Union, presenting the rough and tumble of the game, glorifying the champion of the beginning of the 20th century, Dally Messenger, played by Dominic Sweeney.

1. The impact of the film, a touch of history, sport, Rugby League, the light approach to the drama and comedy?

2. A film of the 1980s, small-budget, limited screenplay, events happening off screen, some mundane dialogue, some corny touches? Yet entertaining?

3. The title, the Rugby League tour, the British and their attitude towards Australians? The symbol of the kangaroo? Abducting the kangaroo from the zoo as a mascot? Caged?

4. The separation of the League from the Union? Issue of Rugby union for amateurs only? Disdain for money and professionalism? The needs of the players? The injured player at the beginning, his pleading to the board, their refusing to pay a penny? Jim Litigan, his approach, an entrepreneur, money for the players? The decision to separate, to set up the league?

5. The players, Jim’s approach? The issue of Dally Messenger? His reputation? a pleasant character? Young and naïve? Just loving the sport? Running, swimming? At home with his mother? Her stern approach, her supporting him, Jim and the discussion with Dally, his mother’s permission, her interrogating Jim, giving her consent? At the wharf and her concern?

6. The issue of sponsorship, Jim and his meetings, trying to persuade the ale-maker? The boat, the discussion with the agent, the lowering of the price for the tickets, agreeing that the men should work in the boiler room?

7. On board, Jim and his big-noting himself, the tour of the boat, the furnaces, manipulating Dally to ask to work there to keep in form? The reaction of the others, Danny and his cynicism? Always wanting to catch Jim out?

8. The letter to England, his seeing Albert as the significant player in England, Albert and the pub, the letter, his reaction? Going to his board, the hesitation, his challenging them? Going to the wharf, making a mistake about the boat, finding the group, Jim and his build-up, the band and welcoming committee? At the pub, the meetings?

9. The tour itself, the initial game, few people turning up, the background of strikes in England? Jim and his taunts? Albert and his reaction? The games, winning and losing? Train travel? The Grand Hotel and eight in a room? Going north, the final game and the build-up? Jim and his interviews with the press, promoting Dally, challenge to Albert?

10. Albert, his age, upset about people referring to his heyday, the interview with the journalist and his text? Going down to the pub, Arthur and his plot and, getting the group to the hotel, persuading Dally to drink, getting him drunk?

11. The final match, Dally and his continually being injured, getting up and playing again, Albert and his tactics, the victory and his congratulating Dally?

12. Jim, keeping the accounts, bankrupt, the cheque to Dally, his tearing it up? Going off to the party, eternal optimism? And the establishment of Rugby League?

I AM

US, 2010, 78 minutes, Colour.
Tom Shadyac, Richard Shadyac, Noam Chomsky, Desmond Tutu.
Directed by Tom Shadyac.

I Am is an autobiographical spiritual and moral essay by writer-director, Tom Shadyac.

Shadyac suffered an accident which gave him symptoms which continued long after hospital treatment, aggravating his physical and mental condition. It gave him time in recovery to reflect on his life and its meaning. When he began to get better, he decided to go on something of a spiritual pilgrimage, using his talent as a filmmaker, going to interview quite a wide range of figures and collecting a great deal of archival footage and images to illustrate his themes.

Best known for such films as Liar Liar, Bruce Almighty, Evan Almighty and his first feature film, Ace Ventura, his output indicated an interest in some religious themes and transcendence although in light and comic context. In this film, he still plays something of the comedian. However, he has the opportunity to develop his interesting questions: what’s wrong with the world? What can I do about it?

The film is very warm and personal in its approach to the questions, and he elicits rather genial responses from the interviewees. The well-known personalities responded as might be expected, Noah Chomsky on the meaning of life, Bishop Desmond Tutu on love and reconciliation. There are a number of scientists who are interviewed, highlighting the fact that science is a story with the danger of focusing solely on mechanisation as an explanation of human nature and the world. The speakers advocate acceptance of realities of what cannot be seen, heard or measured.

Critical audiences and those who want more rigorous intellectual approach as as well as scientific measurement and verification, see the film in the vein of the New Age trends which they dismiss as pseudo-mystical, fanciful and liberal.

Shadyac also realizes that his film can be criticised because of his successful career and affluent life which he is attempting to change. The scenes inside his mansions with their furnishings indicate his former attitude towards possessions. There are some convincing moments of interviews with his father, the director of St Jude’s medical centre, who quotes the sign of peace at Mass as a symbol of what can be developed in terms of love, harmony, reconciliation.

It is probably best to see the film has an essay rather than as a philosophical or theological exploration. Because Shadyac has a talent for humour and the light touch, he continues this even when exploring deeper questions in life. Which means that the film is accessible to a wider audience, not attempting to answer all the questions, but rather suggesting, evoking…

Shadyac moves to a consideration of what is right with the world and how this can be developed. It means that the film is very optimistic in its approach, a film about hope, recovery, love.

And the title? I am is not a self-promotion phrase but an answer to what is wrong with the world: I Am. And an indication of what could be right with the world.

TURBO

US, 2013, 96 minutes, Colour.
Voices of Ryan Reynolds, Paul Giamatti, Michael Pena, Samuel L. Jackson.
Directed by David Soren.

Turbo, like Planes which was released the same time, is a film about an unlikely hero. While in Planes, the young crop duster is in a race around the world, Turbo’s ambition is to participate in the Indianapolis 500. And he does. And, like Dusty, he wins. Of course!

The film, however, gives new meaning to the phrase, snail’s pace.

Turbo is a snail. He is voiced by Ryan Reynolds. And he has a very cautious brother, Chet, voiced by Paul Giamatti. He doesn’t encourage his brother to follow his powers for racing (until the finale!).

However, Turbo finds a whole lot of friends who have all kinds of ultra-snail powers. When he comes to Indianapolis, they are there to support him, especially at the pit stops. Needless to say, there is a villain, a human car driver from Canada who gives very pleasant television interviews but, underneath, is a relentless opponent and does dastardly things to turbo during the race.

Turbo also gets a great deal of support from a young Hispanic man, who also has a reluctant brother, who joins with the group at the pits. He is voiced by Michael Pena and, amongst other snails, there is Samuel L. Jackson.

The animation for the races in Indianapolis his very effective. And, for Turbo, there is a great deal of stunt work. The race is dramatic, has some very exciting moments, has an ending with gridlock on the course, a relentless attempt to win by the villain and Turbo having to rely on his snail nature to get himself to the finishing line. An inspiration for us all to be a true selves when we are in competition!.

Not one of the great animation films, but should attract boys’ attention, as well as girls who are fans, and those who will find Turbo very cute.

1. A family entertainment? The animation? The potential audience? Boys, girls?

2. The quality of the animation, drawing, characters, action sequences, the voice cast, the musical score?

3. The world of snails, audience response to snails and real life? The visuals and the variety of the snail characters? Colourful? The range and voices?

4. An underdog winning story? Turbo and his ambitions, the snails’ reactions, his character, determination?

5. Chet, a protective brother, being careful, his advice, not encouraging Turbo in his ambitions?

6. Indianapolis 500, its implications, the style of racing cars, the focus and racing, the crowds, television coverage, the presentation of the races? The interview with the stunt driver? And the preparation for him to emerge as the villain? Turbo and his being entranced by watching the races?

7. The diner in Indianapolis, meeting his friend, his protective brother, work with the tortillas, the acclaim of the customers? The range of snails, their friendship, their help? Going to the track?

8. The snail community, the variety of characters, appearances, stereotypes and playing with stereotypes?

9. Turbo and the races, and the reaction of the drivers, negative, his becoming an idol for the crowds? The officials, the commentaries?

10. The race, Turbo and his energy, speed, the cars, the star driver, the comments?


11. The pit stops and everybody coming in, helping?

12. The number of laps, becoming more difficult, the cheating, the driver trying to crush Turbo? The effect on him physically, psychologically, the thought of giving up, it encouraging him? To be his true self?

13. The effect on Turbo, stopping, starting again, the pit stops, breaking his shell, travelling in the wheel of the driver?

14. The spectacular crash, the gridlock? Turbo out in front, but feeling broken, Chet and his coming to help and encourage? Turbo moving slowly, like a snail? The driver behind him, dragging his car? Chet and Turbo’s finally falling over the line and winning?

15. The happy celebration, Turbo as a champion, having faith in himself and his talents? The moral of the story?

MURDER, INC

US, 1960, 103 minutes, Black and white.
Stuart Whitman, May Britt, Peter Falk, Henry Morgan, Simon Oakland, Morey Amsterdam, Sarah Vaughan, Vincent Gardenia, Sylvia Miles.
Directed by Burt Balaban and Stuart Rosenberg.

Murder, Inc is a film of 1960, getting an Oscar nomination for Peter Falk as the gangster-hitter, Reles. He gets the credit of ‘Introducing Peter Falk’.
The film was based on a book by the central police character, Turkus, played by radio personality, Henry Morgan. It takes the themes of gangsterism in the 1930s, especially incorporation of the mobs and the organisation of hit-lists of victims. With the character of Reles, the portrait of the hitman is quite vivid.
The film also focuses Lepke, his personality, his control, his power, his organisation. He was the only head of a gangster organisation to be executed. A film biography was made about him in the 1970s starring Tony Curtis.

Also central are a married couple played by Stuart Whitman and May Britt. They have connections with Reles and with Lepke and ultimately become victims of the organization. However, after Reles gives information to the police, and the wife is murdered, the husband testifies against Lepke.

From a later point of view, some of the performances are stilted and some of the direction is not particularly polished. Balaban was a producer and writer, Stuart Rosenberg had worked extensively in television but was to move into film-making with such successes as Cool Hand Luke and Brubaker.

1. A film about American gangsters, 25 years after the events? Some with their real names? The story of Lepke?

2. Black and white photography, the use of Cinemascope? The interiors of offices, homes, prisons? The streets of New York? The musical score, including songs, especially by May Britt and Sarah Vaughan? A comedy routine by Morey Amsterdam?

3. The opening with the hits on the staircase, the introduction to the killers, the introduction to Reles, his ruthlessness? Going to see Lepke? The deals? The incorporation of Murder, Inc? The naming of gangster leaders like Capone?

4. Murder, Inc? Organized crime? Deals across the various states? People on the hit list? The recruiting of the killers?

5. Corruption, business, sports?

6. The focus on Joey and Edie? Joey and his connections with the thugs, with Reles? The other associates? The connection with Lepke? Edie and her background, her knowledge of the criminals and their behaviour? Singing in the clubs? Her relationship with Joey, marrying him? Her concern, their clashes? Joey and his going along with the killers, the murder of the comedian, his reactions? Edie telling the police he was not a killer?

7. The police, their investigations, needing evidence? The increasing number of killings? Turkus, his associate? Their quests? In the context of the
1930s?

8. The arrests? The interrogation of Reles? His being willing to give information, the days of questioning, yet the need for evidence? His interactions with Joey? His attitude towards the police guarding him? His falling from the window, thrown?

9. Edie, giving information to the police, her concern about Joey, her going out into the night, the attack, her death? The effect on Joey?

10. Lepke and is ordering the killings? Of all the witnesses? Joey and his being guarded by the police, not giving information, changing his mind, in court?

11. Testimony against Lepke, the newspaper headlines, his being executed? The only major gangster executed?

12. The perspective of the film and the 1960s, the later gangster films and biographies of these criminals?

PARKER

US, 2013, 118 minutes, Colour.
Jason Statham, Jennifer Lopez, Michael Chicklis, Nick Nolte, Clifton Collins Jr, Wendell Pierce, Bobby Cannavale, Patti Lupone, Emma Booth.
Directed by Taylor Hackford.

Parker is a criminal character created by Donald E. Westlake writing under the name of Richard Stark. The have been several films featuring Parker. This film was based on the novel, Flashfire.

The film was directed by Taylor Hackford, who for more than 30 years has directed a wide range of films with such high points as Ray. This film was not particularly successful commercially, appealing to Westlake’s fans but not generally, in some areas going straight to DVD.

However, it is a higher profile role for Jason Statham, the diving athlete from England who made an impression in gangster films in the UK and, with the help of some French-financed films, especially the Transporter series, he became something of an action icon. For more than a decade he made at least two films a year, reaching a wider public with the Expendables films.

In a first, he appears at the Ohio State fair disguised as a priest, doing some priestly work comforting a panic-stricken security guard. However tough he might be, he falls foul of the group with whom he was doing the robbery and as they try to kill him, they assume that they have. This leads, of course, to a vengeance film as he tracks down criminals with the help of his contact, played by Nick Nolte, whose daughter, Emma Booth, he is in love with. In his plans to find where the gang is holed up to prepare another heist, he encounters a real estate agent, played by Jennifer Lopez, who finds that she has bitten off more than she can chew in getting this particular job.

For those who like this kind of thriller, and who like Jason Statham, this should be a satisfyingly entertaining film.

1. The title and its focus on Parker? Action? Thriller? The world of criminals? The writings of Donald E. Westlake, the novels of Richard Stark?

2. A cross-section of the United States? Chicago, Ohio, New Orleans’, Florida? The musical score?

3. The focus on Parker, an interesting character or not? Admirable or not? His code of not robbing the poor? His code of vengeance? His vulnerability?

4. Ohio, the fair, the crowds, the big business, collecting the money?

5. Jason Statham disguised as a priest, his manner, the way that he was received with respect, with the group, the clowns and the balloons? Putting up
the cover? Going under the building, the priest at the door asking to leave his case? The robbers appearance? The panicked security officer, Parker giving him priestly reassurance and car? The robbery? The fourth man, careless, his being warned by Parker, setting the fires in the wrong place, the chaos, taking the money, the driver waiting, the escape?

6. The personalities of the group, their work together, interactions? The boss and his proposal for a new job, Parker refusing, the argument, getting the guns, firing the guns in the car, Parker diving out the car window, lying on the road, the shooter coming back to kill him? Firing the shot?

7. Parker in the ditch, his being rescued by the couple, taken to hospital, his over-rapid recovery, the old man with the machine for talking, his hold on the wardsman, taking his uniform, wheeling the old man out of the hospital, easily stealing the car, the woman with the emergency?

8. The gangster, his relationship with Parker, Claire and the relationships, love? Offering the job, making the connections? After the failure, the phone calls, giving the leads?

9. Claire, her relationship with Parker, the house under attack, her escape, Parker arranging a meeting place and safe house?

10. The lead, Parker going to the club, the band playing, the threat, holding the man down with the chair, the information about Florida?

11. Going to the passport-maker, the killers, Parker urging him to shoot them? Later the gangster turning up and killing the man?

12. Lesley, her mother, the policeman and his attraction towards her? At work, cheating with getting the notes from the rival, showing Parker around the houses, Parker and his disguise with the 10 gallon hat, the Texan? Looking at the houses, trying to find where the criminals were? Inside? Lesley, the policeman asking her questions, coming to Parker’s rescue, Parker and his being attacked, wounded, her being taken, the bluff about shooting her?

13. The leads the group, the plan, the jewellery heist, the setup, the socialites, the gang posing as movers? Parker’s arrival, the confrontation, surprise that he was alive, the shootout, his vengeance on the man who shot him?

14. The issue of money, jewels? Going back to Chicago, the fence, his controling situations, Parker shooting him?

15. Lesley, the parcel of money, her mother’s comments? The old couple thinking that Parker was an angel and the television interview?

16. A portrait of a hardened criminal with some soft spots?

NOW IS GOOD

UK, 2011, 103 minutes, Colour.
Dakota Fanning, Paddy Considine, Jeremy Irvine, Olivia Williams, Kaya Scodelario, Julian Wadham.
Directed by Ol Parker.

Now is Good is based on a popular novel by Jennie Downham, Before I Die. It has been adapted for the screen and directed by Ol Parker. It is the story of a teenager suffering from leukemia and preparing to die, having her own particular bucket list for achievement.

Dakota Fanning is very good as the young woman, English accent and all. She communicates the physical discomfort of leukemia as well as the psychological repercussions and the question of when to stop medical treatment. She has a flat mate, Zoe, Kaya Scodelario, who is much freer spirit, trying to lead Tessa into different adventures.

Tessa knows her own mind, and is willing to participate in shoplifting, though she has to face the police and the disapproval of her father. He is played by Paddy Considine, obsessed with his daughter’s illness, wanting to protect her, not wanting to face up to the fact that he will lose her. Her mother, separated from her husband, is much more reluctant to face the truth. Tessa also has a young brother who bluntly comes up with all kinds of comments and questions. Jeremy Irvine plays the boy next door, a sympathetic young man who befriends Tessa and falls in love with her, promising to be with her until the end.

The film has a great deal of sentiment but, being made with a touch of English reserve, there is a resistance to sentimentality.

1. The title of the film? The focus on Tessa in the present? The novel’s title, Before I Die, the prospect of death? The perspective of the teenage young woman, the audience which identifies with her?

2. The UK setting, the town, home, streets, the cliffs and the countryside, the musical score?

3. The portrait of Tessa, Dakota Fanning with the British character and accent? Her age, appearance, leukemia, the visible effects, the psychological effect? Medical condition, the visits to the Doctor, The issue of treatment or not having treatment? The bond with her father, his not wanting to let her go, his ever-presence, permissions and refusing them, accompanying her? He is ‘no’ to Adam? Tessa’s mother, separation, not facing the issues? The little brother, his perspective, blunt questions and comments? Zoe, her friendship, sharing the flat? Tessa’s list, revealed in her room? Her hopes? The slight aspects of the drama? The serious aspects? The sexual implications?

4. Zoe, her character, a spirit of freedom, with the boys, making out? Tessa watching, Cal, his frustration, the later meetings? Zoe, the pregnancy test, her reactions, the decisions, abortion, talking to Tessa, the perspective of life, keeping the baby, wanting Tessa to assist at the birth, but the reality of her death?

5. The escapades, the shop, stealing, being caught, the police station?

6. Tessa’s father, his character, sad, obsessed, separated from his wife, loving his son, the meetings, the care and protection of Tessa?

7. Her mother, unwilling to face the situation, coming late to the hospital, but the bonding, wanting to stay at the end?

8. The brother, innocently blunt?

9. Adam, living next door, the meetings and discussions, friendly, his learning the truth, becoming protective, Tessa’s reaction? Talking to Adam’s mother? Her father’s suspicions of him? Going out, the bike, the ups and downs and moods, walking along the cliffs, the bond, together at the end? The date, her collapse, going to hospital, her parents present, Adam absent, yet all the graffiti on the walls and her response? His promise to care for Tessa, his love for her?

10. The glimpse of life and the teenage girl, her life, having little live, facing realities?

LASSETER’S BONES

Australia, 2012, 101 minutes, Colour.
Directed by Luke Walker.

Perhaps, the legend of Lasseter and his reef of gold is not so well known these days. Back in the 1930s and the succeeding decades, probably everyone knew about Lasseter and his search for gold. It was dramatised for eager readers by Ion L. Idriess in Lasseter’s Last Reef. We all read it in those days.

The reef has never been found again. Was it a real? Was Lasseter’s account and his diary telling the truth? Was the man who allegedly found him and buried him telling the truth? Or was Lasseter a con man and a fraud? Did he really die in the desert? Did he actually flee the country and go to the United States? Many people have answered ‘yes’ to all these questions?

Documentary filmmaker, Luke Walker, not only became interested in the story and wanting to find out the truth, he became deeply obsessed. This is his story, his own personal compulsion to search out the truth, his going to the different locations, his tracking down anybody connected with Lasseter and his story, the interviewing them, raising all kinds of questions.

This makes for a very interesting documentary. Walker is very much at the centre of the film, on screen a great deal of the time, inviting the audience to share his experience.

However, he really does search out quite a number of characters to interview. The most prominent is Lasseter’s son, Bob, who is still searching for the reef. He discusses the story with great enthusiasm, reveals that he has been searching the years – he is 85 at the time of the film being made. There is a striking scene with him standing on a ladder with binoculars searching for significant mountain landmarks, and the camera pulling back to show that the ladder is standing on the roof of his vehicle. There is an image of him at the end, sitting in front of his father’s memorial statue, outside Alice Springs.

Walker has done a lot of research about Lasseter, his early years in Northern New South Wales near the Clarence River, his having many brain waves about developing the town, submitting to the government all kinds of intuitions about contributions to the World War I effort. Then there is his diary, claiming that there was a relief. And then his death.

Walker also tracks down relatives of Lasseter’s partner, relatives of the man who found Lasseter and buried him, relatives of those who researched Lasseter’s claims at the time as well as those who accused him of fraud. The film also includes footage from American Lowell Thomas’ television documentary of 1957 in search of Lassiter. Walker goes to libraries, to archives, getting a variety of opinions about what happened.

There was also talk of the reef being near an aboriginal sacred site. Walker goes out into the desert, interviews a group of aboriginal women who offer memories of Lasseter’s last days, feeding him, caring for him. There is also an extended interview as Walker goes out with an elderly aboriginal man near a sacred site and the aborigine reluctant to tell the story, threatening spears if Walk were to go to the site, and his being tired of giving the interview.

With all this information, the different perspectives, Walkers and supporters and critics, it is still up to the audience to make up its mind about what really happened to Lassiter and whether there really was a reef.

1. An Australian legend? Of the 1920s and 1930s? The popularity of the story in the press at the time and since? Ion L. Idriess’ book and its popularity? The inquiries, the articles against the legend? Accusations of fraud? Yet the continuing pursuit of the legend? The Peter Dawson song and its being sung during the final credits?

2. The film as a 21st century investigation? Luke Walker and his sense of mission? His crew? The range of interviews? His going out on location, to research with Lasseter’s son, with relatives of others who had been involved, with the aboriginal people?

3. The range of information, data, about Lasseter and his origins, living near the Clarence River, the town, his urging improvements, his data for the war and inventions and their rejection? Exploration, his partners, finding the reef, pegging it, the claim, the further search, his diary and the information for his wife?

4. Accusations of fraud, the articles? The critic and his writing notes on Idriess’ book? The denunciations? His death, his body being found, buried? Lowell Thomas and his television investigation program in the 1950s? Footage from the program and Lowell’s opinion? Speculation about Lasseter’s death, his not dying, his migrating to the United States?

5. Lasseter’s son, his faith in his father, the information, the diaries, age 85, still going out into the desert, his truck and standing on the ladder, the
binoculars, the searching for the landmark mountains? His continuing faith? Sitting at the monument of his father at the end?

6. His partner, the partner’s son, information, proof that he existed, but little known about the expedition?

7. Buck, claiming to have found the body, burying it, not signing a declaration, the range of diaries, of different maps?

8. Exploration of the area, the search for clues? Sacred sites? Permissions to go on the land? Time limits?

9. The aborigines, the women and their discussion, the memories, the stories of caring, food, Lasseter’s death?

10. The sacred sites, Kimber and the trip, the aboriginal old man? The threat of spearing for trespassing on the site? His giving information, wanting to finish the interview?

11. Luke Walker, his searching up people, following up on leads, newspapers, documents? participation in the expeditions, his being on screen, the interviews? The caves, the possible reefs, the mountains? Seeing Walker at home, in the bath, his sense of frustration, puzzling? The mystery remaining?

12. Luke Walker and his making the film, no satisfactory ending, given the information, audience response to the film, the legend and the mystery?

BAD ASS

US, 2012, 90 minutes, Colour.
Danny Trejo, Charles S. Dutton, Ron Perlman, Harrison Page.
Directed by Craig Moss.

Bad Ass is a bit better than it might sound. It stars Danny Trejo, a rather hard-faced actor who is often in villain roles. His starring role was in the Machete films?
He stars as a Vietnam veteran who is rescued by his friend, Klondike, during the war. However, on his return, public opinion is against the veterans, he is unable to get a job because he has no qualifications and has to sell goods on the street. 40 years later, by chance, he is on a bus and defends an African American man from a street gang. His fight is filmed and his reputation is made, being honoured by the city of Los Angeles.

A story develops when Klondike is killed by a gang, leading to a criminal leader, played by Charles S. Dutton, who is in league with the mayor, Ron Perlman, who is corrupt but is running for re-election on a clean city platform.

This leads to Bad Ass investigating further, making connections, confronting Panther and finally winning some vindication.

The film was written and directed by the aching wind and the 40 year old virgin who knocked up Sarah Marshall and felt superbad about it. Not a great commendation for this film. But, he has improved.

1. The title and tone? Expectations? A film about attitude, about violence? Danny Trejo as the hero, his past roles, especially Machete?

2. A Los Angeles story, Los Angeles over the decades, the Hispanic area, the sixties and seventies and the experience of the Vietnam War, post-Vietnam, streets, transport, gangs, violence? Vigilante action? The police? The musical score?

3. Frank’s story, as a boy, his relationship with his mother, his hopes? Enlisting for Vietnam, his experiences there? Capture, torture, rescue? His girlfriend, by the river, the hopes and promises, his return and her marriage and having children? The aftermath, people ignoring him, the anti-Vietnam spirit, his going for job interviews, the long hair, the beard, no prospects, no qualifications? Selling goods on the street? An ordinary citizen?

4. On the bus, the gang, the harassment of the black man, his reaction, the fight, his strength, his being filmed, the video and Youtube and its going viral, gaining a reputation, the fans, celebrity and autographs?

5. The police, honouring him, the officer being his friend, discussing cases, Frank going riding with him? The reactions? The young boy, his mother? His help?

6. The effect on Frank self-confidence, going into action, his mother’s death, the funeral?

7. Klondike, the past bond because of Vietnam and the rescue, his going to the street, the brutal confrontation and his death? Having information in his possession? Frank’s reaction? Going to the police, the Indian officer and saying it was being fully investigated, Frank seeing the police take time off? His reaction, going into action, seeing out the information, the wife of the leader, the basketball game, his interrogation, his investigations?

8. The background, the mayor, his speeches, running for office? His wanting order in the streets? Yet his deals, the gangs, violence, Panther and his orders?

9. From traveling by bus, his shorts, a rather low key variation of Death Wish?

10. The dangers, the wife and her being bashed? The woman next door, the bond? The boy?

11. Panther, his role, the confrontation, the gangs, his men? The fights, Frank’s vindication?

12. A vigilante film with a difference?