2 GUNS

US, 2013, 109 minutes, Colour.
Denzel Washington, Mark Wahlberg, Bill Paxton, Edward James Olmos, Paula Patton, James Marsden.
Directed by Balthazar Kormakur.

There is no subterfuge about the title of this film. It is certainly an action show, with many of the touches of the popular thriller.

The two guns of the title are Denzel Washington and Mark Walberg. We see them at the opening in a diner, scouting out a bank in preparation for a robbery. Washington plays the cool sardonic type. Wahlberg is the cheeky comedian. In fact, the film is often funny, the two stars playing off each other very well, Washington more the straight man, Wahlberg with the cheeky one liners. And they keep up an amusing pace throughout the whole film.

This is one of those films where it is better to be tight-lipped about the plot developments. Perhaps, suffice it to say, that appearances are not what may seem, and there are quite some twists as the plot goes on. This involves Edward James Olmos as a fairly ruthless drug lord, with headquarters in Mexico and a nice quiet suburban home just across the border in the United States - where that bank-to-be-robbed is to be found. Then there is Bill Paxton, coming on strongly about the robbery, after the $43,000,000 plus that was taken away, raises the expectation of the robbers who thought it would be three million dollars. Paxton can be very nasty in his dealings with and managers, vets who help people on the run, and the drug lords.

And then there is the director of the DEA, his assistant, Paula Patton, who controls operations but who does not come up with the help initially promised which leads, of course, to some sticky situations. There is also the naval officer, played by James Marsden, all smiles but ruthless.

All the review can do, while not revealing the plot details, is to whet the appetite of readers who may be attracted by this kind of action story, shootouts, as well as the stars. If they do see 2 Guns, they probably won’t be disappointed.

1. The title and focus? The two men and their rivalry, collaboration? Guns and weapons? Shootouts?

2. The film based on graphic novels, the exaggeration and characters, action, situations, dialogue? The musical score?

3. The strong cast, a different odd couple? In action, in comedy? The director and his background from Iceland and its film industry?

4. The plot, the setting up of the robbery, going to the drug lord, the issue of the DEA involvement, the navy, the CIA?

5. A film entertainingly exploiting appearances, people not being as the seem, the twists?

6. Mexico, Texas, the border, style in Mexico, drug empires and drug lords? The contrast with the small American town, quiet, homes, the small bank?

7. Bobby and Stig at the diner, the introduction to them, their styles, Stig as cheeky, Bobby as the straight man, sardonic? With the waitress, the order, changing it, the chatter, Stig watching the bank, Bobby scouting out the bank and the possibilities for the robbery? Stig and his winking?

8. One week earlier, the two, going to Mexico, the confrontation with the drug lord, the dead man and his head in the bag, the interview, the shooting of the chickens in the ground? Getting cash rather than drugs? Spoiling the sting? Atmosphere of hostility? The information about the weekly transfer of money, to the bank, the drug lord in his American home, his family? The quiet bank?

9. The plan to rob the bank, Bobby and Stig seeming to be criminals? Bobby and his going to see Deb, the sexual relationship, the past, her new boyfriend? The plans? The discussions with the boss, working undercover, the threat to withdraw Bobby from his undercover work, his keeping the robbery to himself, only telling Deb?

10. The repeat of the scene in the diner? the customers, the explosions and Stig’s work and style? In the bank, the customers, the manager, giving up the money, more than $43,000,000, the arranged back-up not arriving, the mystery about Deb and her promise? Going into the desert, the confrontation between the two, the DEA badge, Stig thinking Bobby was a dirty officer, shooting him? Bobby wandering through the desert, getting the vehicle, going to the vet and being treated?

11. Bobby, the mystery of Deb not turning up, going to the hotel, seeing her going in the elevator to Harvey? The irony of Harvey being the naval head? The connection, the plan, the money?

12. Stig, the navy connection, their wanting the money, the officer being Harvey, taking Stig into the desert, to shoot him, his plan and escape?

13. Earl and his henchmen, tough gangster style, the irony of his being CIA? Taking the money from the drug lords, bribes, banking the money around the country? His hold over the drug lords, the interviews, going to see the vet, tracking down Stig and Bobby? His threats to the bank manager? Going to the DEA boss, killing him? Going to the drug lord?

14. Bobby and Stig, Deb and the search, finding out Stig was navy? the results? Bobby and the warehouse, Stig with the gun, the phone call, the warnings about the assassin and the escape? The bond between the two, family or not? Buddies or not?

15. Further complications, the pursuits, the plan, crashing into the navy base, Bobby and the confrontation with Harvey, setting the fires, Bobby wearing the uniform?

16. The drug lord, his taking Deb? The build-up to the three-fold confrontation? The setup, the argument, the end and her death, the shootings? The explosions and the destruction of the money?

17. The film’s attitude towards American agencies, criminal activity, cover-ups?

18. Not all the money destroyed? Further adventures of the odd couple?

EXECUTIVE SUITE

US, 1954, 103 minutes, Black and white.
William Holden, Fredric March, Barbara Stanwyck, June Allyson, Paul Douglas, Walter Pidgeon, Shelley Winters, Dean Jagger, Louis Calhern, Nina Foch.
Directed by Robert Wise.

Executive Suite was one of the best films of 1954. There was an interest in Hollywood in business films at this time including Woman’s World and Patterns. This film has excellent dialogue, interest in interactions between the characters and their power struggles.

The film has a very strong cast of top players of the 1950s and they interact very well. William Holden was an established hero in films of the time, the noble visionary. Walter Pidgeon, getting older, had moved from leading man to strong supporting character. Fredric March stands out as the manipulative and ambitious vice president. June Allyson is always sweetness and light and contrasts well with Barbara Stanwyck in a strong and intense role and with Nina Foch, Oscar nominated, as the secretary. Paul Douglas appears as the sales manager having an affair with his secretary, well played by Shelley Winters. Dean Jagger is the veteran who is retiring, and Louis Calhern is the calculating and corrupt executive. The film was directed by Robert Wise, a director of a range of films, beginning with horror in the 1940s, moving too many dramas in the 1950s, and finally winning Oscars as best director for West Side Story and for The Sound of Music.

While the film represents the values of the 1950s in the business world, and might be compared with Ayn Rand’s The Fountainhead, it is still of interest given the battles in corporations in the 21st century.

1. The film is considered a classic, why? From the 1950s? American business, executive offices and executives? The politics and business?

2. The strong cast, MGM production values, New York setting, the American city with the executive office? Airport? The factory? Homes, baseball fields? The atmosphere of the 1950s? No musical score? The bells at beginning and end?

3. The title, the focus? Management, the CEO and his power, the vice presidents, the sales rep, the production line and chief, the inventor and designer? The secretary? The executive for statistics and profitsd? The executive and his speculation with shares?

4. The pivotal accident, George seeing it, his decision to sell his shares and buy them back, giving information to the police about the executive’s identity, his plans? Going to the meeting, his anxiety about the information on the identity of the dead man? The wallet having been stolen?

5. The roles of the vice presidents?

6. Fred, his years of service, second in charge, his wife’s ambitions, his friendship with Don, with Jesse, wanting Don to succeed? Jesse not wanting it? His interactions with Shaw, the discussions with Julia and the repercussions of her past, the relationship with the dead man, his age, his decisions? Knowing that he was always a second?

7. Shaw, introduced to the company through George, three years of service, his interest in profits, profit sheets and statistics, allowing poor production, his ambitions, taking charge at news of the death, his organisation, Fred and Don taken aback? The system, information for the press, the financial report and profits so that shares would not go down, his following Walt, intruding into the apartment, the deal with George, his selling his shares, Shaw knowing? His hold over George? The discussions with Julia, credible to her, getting her proxy? His presumption, presiding at the meeting, calling for the ballot, his nomination, the reaction of Miss Martin? George abstaining and his not winning the vote?

8. Walt, jovial, sales, his reputation, his work with Eve, the implications about his wife, his weekend plans, the flight? The news, waiting for the meeting, going to the airport, Shaw giving him a lift, his being followed, in the apartment, with Eve, his being caught, cowardly manner, Eve’s reaction, his having to support Shaw, finally backing down? Some moments of integrity? Eve as secretary, in love with her boss, seeing his behaviour, deciding to leave him?

9. Jesse, in charge of production, his age, talking with his wife, planning the time in retirement, going fishing, his return with Fred, not supporting Don, listening intently to Don’s speech, changing his mind?

10. George, business, seeing the collapse of the boss, his approach to shore, an opportunist, the issue of the newspapers, searching for the news, ringing the police after seeing the initials, his girlfriend, not letting her eat, then happily eating? Going to the meeting, talking to Shaw, wanting his help, Shaw’s knowledge, the issue of the vote, the irony of his abstention, his being forced to vote for Don, Shaw tearing up the promise?

11. Don, his hopes for design, the tests and his relationship with the men, the meetings, his being absent during the tests, the phone calls, his relationship with Mary, love, at home, the son, the baseball, with Fred and the meeting with Shaw, surprised at Shaw taking over? His experiences and his success? His admiration for the CEO, his idealism? Staying up late, Mary asking what he wanted, not wanting Shaw, meeting Julia and his harsh words to her, admiration for Bullard, the vote and his against Shaw, the final confrontation with Shaw, his style? The long speech and its values, in terms of idealism in business in the 1950s? Vision, creativity, inspiration, values, production? The poorly-crafted table and his breaking it? Saying Bullard had lost his way?

12. Julia, her relationship with her father, his suicide, the firm, her relationship with Bullard, being upset, and contemplating suicide, selling her shares, the visit to the office, talking with Shaw, impressed by him, the talk with Don, voting yes for Shaw and the ballots, tearing up her proxy, listening intently to Don, thanking him? Her meeting with Mary and her support?

13. Miss Martin, Bullard as an ideal, her efficiency, sadness, arranging meetings, taking the minutes, her staying?

14. Mary, as wife, playing baseball with her son, not telling Don about Fred’s message to delay the vote, her coming with an apology, listening, the meeting
with Julia?

15. The film as a successful drama, intense characters, good dialogue, interactions, politics and power?

BODY OF EVIDENCE

US, 1993, 101 minutes, Colour.
Madonna, Willem Dafoe, Joe Mantegna, Anne Archer, Julianne Moore, Frank Langella, Stan Shaw, Jurgen Prochnow.
Directed by Uli Edel.

Body of evidence has an ambiguous title, especially with Madonna as the star and her reputation for interest in sexuality. However, it also refers to the court case and the evidence against Rebecca, played by Madonna.

The film is a murder mystery with the touches of a thriller. It is also an erotic melodrama, with quite an amount of nudity and explicit sexual behaviour.
Madonna plays a young woman, very free in her attitudes, having sexual relationships with older men, with the possibility of inheriting their wealth. Willem Dafoe plays her lawyer, a married man but susceptible to Rebecca. Joe Mantegna plays the DA and prosecutor in the court case. Anne Archer is the devoted secretary to the murdered man. Julianne Moore is Frank’s wife.

The film was directed by German lily Eidel who made such films as Christiane F, Last Exit from Brooklyn and The Baader Meinhof Complex.

1. The film as thriller and murder mystery? Court drama? Psychological interplay? Psychological games? An erotic drama?

2. The impact as erotic, sleazy aspects, dramatic? How effective?

3. The Portland city settings, American society and wealth? Exploitative gold-diggers? The role of the law, justice?

4. The title, the innuendo? Sex and the court case? The opening, the victim and the video, nudity and sexual behaviour, explicit? The dead man, his reputation, wealth? Taking up with Rebecca? Gossip in the city? Rebecca’s relationship, affairs, using people?

5. The exposing of Rebecca’s affairs? With the dead man? With Roston, the age difference, his infatuation, his wealth, her discovering him with another man, his testimony in court, acknowledging the relationship with the man? The role of the Doctor, the liaison with Rebecca, information, the drugs, lying in court, playing the tape? The later revelation of his conniving with Rebecca? Her seduction of Frank? Her sexual proclivities, sado-masochism? Her motives and behaviour?

6. The situation with the police investigation, the dead man, the pornography, his being tied to the bed? The police, information, evidence?

7. Rebecca, the accusations, at the funeral, her decision and motivation, the jealousy of the secretary? Her going to Frank, requesting him to defend her, their discussions, the eight million dollar inheritance, the issue of whether she was guilty or not? His decision to defend her?

8. Bob, his role in the DA’s Office, the meetings, as blunt questioning of Rebecca, her answers, the issue of cocaine and her special aspirin program and
the visit to the pharmasist? Frank and his doubts?

9. The case, the court and the photography style in the courtroom, on Rebecca, on Frank, on Bob, on the judge, on the people in the courtroom? The judge and her behaviour? The witnesses? The jury? The interrogations? The doctor and the information from the autopsy? The doctor and the advice he gave, the information? The secretary, her love for the deceased, as secretary for six years, the video of their sexual liaison? Roston and his story? Rebecca and her demanding to be put on the stand? Telling her story, giving the explanations, playing the tapes?

10. Bob, his role with the police, his angers in the court? His style of interrogation? Frank, his questions, the reactions, exasperation? The response of the judge?

11. Frank, his life, his wife and her café, his bond with his son? Allowing himself to be seduced, going back into the house, at the restaurant with Rebecca, the nature of the relationship, her asking him to find a man that would respond to her, his not yet knowing that it was him? The wax and the candle, sado-masochism, his continually succumbing? Anger with Rebecca? The end, the visit, the discovery of the truth?

12. Frank’s wife, her anger with him, coming to the court, in the restroom with Rebecca and slapping her?

13. The portrait of a murderer, her clam and ruthlessness?

14. The end, Rebecca with the doctor, despising him, the explanations, the doctor and the gun, the shootings? Her death?

15. Bob’s comments to Frank, Rebecca living by the sword and dying by the sword?

PLANES

US, 2013, 91 minutes, Colour.
Dane Cook, Stacey Keach, Brad Garrett, Teri Hatcher, Julia Louis- Dreyfuss, John Cleese, Cedric the Entertainer, Val Kilmer, Anthony Edwards.
Directed by Klay Hall.

Planes comes from the Pixar Studios. It is not one of their outstanding films but is more entertaining, better than their two ventures into the world of Cars.
This time they have a very simple plot: a small crop-dusting plane with Walter Mitty-like imagination and heroics, wants to break free from ordinary life and the routine of crop-dusting. His old boss plane he is wary. The repair machine is positive that Dusty will have no success. However, he does enter the competition, just missing out on a spot with his timing and flight but finally being accepted when another plane is accused of cheating.

In the meantime he makes contact with a World War II veteran plane who has not flown for decades. The old captain tests out Dusty and decides to support him, helping with his training for the competition, because Dusty finds that he has a fear of Heights.

The animation for the flying sequences is quite spectacular, one of the best features of the film – also the locations for the different stops along the way. The voices are also good with Dane Cook as Dusty, Stacey Keach as the old captain and, very recognizable, John Cleese as very British plane, Bulldog. There is also a Mexican plane who has fallen in love with the Australian entrant, but is rejected by her until he serenades her romantically.

The main part of the film consists of the various stages of the competition, the stops around the world in the air race, (though confined to the northern hemisphere): Iceland, Germany, through the Himalayas where dusty go through a tunnel instead of flying over them and gains time, China, Mexico and the final stage to New York City.

Obviously there has to be a villain, a vain and cheating competitor, who falls foul of his vanity and his playing to the media.

There is also a subplot about the captain and his World War II activities leading to Dusty’s disappointment.
It is the story of the little plane, looked down on, but drawing on energy and self-confidence and winning in the end.

1. An entertaining animation film from Pixar studios? High expectations? The impact of Cars and Cars 2? Similarities and differences?

2. The plot, the small plane, Dusty, seen as a loser, with a vivid imagination, his work in crop dusting, wanting to go into the competition, the help from the old plane, Dottie, the repairer? The old captain? The test, coming sixth, the cheating plane and his being able to enter? The training, his fear of heights? The stages of the journey, the adventures, the help, the main opponent, the final competitiveness and his victory?

3. The animation: the landscapes, the sea, the different continents, the vivid flying sequences, the contrast with Dusty his ordinary life, his skilful flying, his achievement?

4. The voice cast and their suiting their characters? The musical score?

5. Dusty as a Walter Mitty kind of plane, the initial sequence of his imagining his success, the reality and down to earth, the old plane and his advice about real life, Dottie and her scepticism? The captain and his assistant, the stories of the war? The details of the training, Dusty and his fear of heights, but succeeding, everybody laughing at his entry, passing the test, receiving the message that he was accepted? The support team? His being considered a loser, the determination, competitiveness?

6. The plot including the media, the coverage of the flight, the interviews, the broadcast and the planes watching, the range of audience, the media
support?

7. The vain plane, his henchmen? The Indian plane, attracted to Dusty, the cheating with the propeller and her giving it to Dusty? The British plane with John Cleese’s voice? The romantic Mexican, his attraction to the Australian plane? Her initial rejection? His serenading her and her response?

8. The Iceland sequences, the cold? The contrast with Germany, the fan plane and his transformation, and adulation of dusty, and turning up at the end? The crossing of the Himalayas, going through the tunnel, the danger with a train, his getting ahead? Arriving in China, the adventures? The romance? His team? The contact with the captain and the others? At sea, the cheating plane taking his equipment, his landing on the ship, getting help, the repairs? The captain’s medal, the truth, Dusty and his disillusionment?

9. The captain, Dusty and his Sad reaction, the medal, the captain telling his story, training the young planes, their going into action, brashness, his allowing them to do this, the destruction?

10. The team coming to support Dusty?

11. The experience on the ship, the takeoff and landing, going to Mexico?

12. To New York, the vain plane, Dusty going up the list, recovering his leadership, his being despondent, his being encouraged by the captain? The vain plane and the media, showing his good side to the cameras - and losing the flight and the competition?

13. The achievement of the small hero? The underdog? Happiness? Reconciliation all round?

PERCY JACKSON: SEA OF MONSTERS

US, 2013, 106 minutes, Colour.
Logan Lerman, Alexandra Daddario, Douglas Smith, Brandon T. Jackson, Stanley Tucci, Anthony Head, Nathan Fillion.
Directed by Thor Freudenthal.

Percy Jackson: Sea of Monsters is a sequel to Percy Jackson: Lightning Thief, from 2009. The two films are based on a series of novels by Rick Riordan, very popular, serving as a possible substitute for Harry Potter stories. However, the films did not have the success anticipated though they were popular.
Logan Lerman is Percy Jackson, the hero, the son of Poseidon and a human. Along with other half-bloods, he goes to a park where they are sheltered from interaction with humans. In the first film he was given a quest. In this film he has another quest.

While in the first film, actors appeared as the gods, they do not appear in this film, only Hermes as an American businessman (Nathan Fillion) and Kronoss as a computer-generated Titan.

Percy is a modest young man, with a sense of destiny which he does not want to pursue, rather plagued by self-doubt. However, he is encouraged by the managers of the park, Stanley Tucci and Anthony Head, playing Chiron the Centaur, to pursue that destiny, especially after he has defeated a monstrous special-effects bull which has invaded the park.

The quest takes him and his friends into New York City with three strange Fates and a taxi, to Hermes and his factory, to Washington, DC, to a boat going to the Caribbean, to the discovery of a Civil War submarine, to a strange destination in the Bermuda Triangle which appears as an entertainment park, complete with a roller coaster. He has to confront Luke, who has betrayed his half-blood heritage and the gigantic god Kronos. He is accompanied in his quest by the athletic champion, Clarisse, as well as Annabeth who has a crush on Percy and Grover, his centaur friend. Also along is a young Cyclops, Tyson, who turns out to be a half-brother of Percy.

Quite some action at the end, Percy achieving the quest, the return home and the celebration and the possibility of another film in the series.

1. The popularity of the novels, the first film? An attractive hero? Heroics? The mythical backgrounds? Magic and effects?

2. The credibility of the plot, the Greek gods, their stories, the myths, realities? Still active? The children, the half-bloods? Poseidon?

3. The half bloods? The gods still living in the present? In the US? In the present? Their living in the park, survival, under attack? The background from the first film?

4. The special effects, the stunt work?

5. The prologue, the story of Talia, the escape of the children, Percy and his young friends, the pursuit, their being caught, Talia dying, frozen, giving her life,becoming part of the tree? Percy and the voiceover? The role of Zeus? The protective wall for the children?

6. The contest, Percy and Clarisse in competition? Percy, his friends and supporters, his stopping to help the stranded boy, Clarisse and her determination, her winning? Mr. D and his getting Percy to do the cleaning?l

7. Mr. D, his personality, the jobs, his associate, Chiron, the centaur, their discussions, managing the park?

8. The breakthrough of the wall, the mechanical bull, its destruction, the special effects, the fight, Luke and his story? Percy, the fights with the bull, his
defeating it?

9. The story of the golden fleece, the issue of destiny, Percy and his destiny, destruction or not? His discussion with Chiron, the issue of the prophecy, Percy and his self-doubts?

10. His being willing for Clarisse to lead the mission? The boat, the Bermuda triangle and the explanation of its destructive power and linking it to mythology?

11. The arrival of Tyson, a Cyclops, his one eye, his sunglasses, changing into two eyes? The revelation that he was Percy’s half-brother? Percy’s reaction? Tyson and his good nature? Percy apologising later to Tyson?

12. Percy, his friends, the quest, the taxi New York, the three Fates and the comic touches, the issue of the eye? Traveling to the factory, meeting Hermes and the fact that he was a businessman? Going to Washington? The boat and its going to the Caribbean, the Bermuda Triangle? The Civil War submarine, the soldiers, sailing, the battles, the effect?

13. The undersea sequences, the effects, the escape?

14. The destination at the theme park, Polyphemes? His role, sinister?

15. Luke and his friends, Luke and his betrayal, his wanting power, the attack on the group?

16. The sword, Clarisse and her being standoffish, Grover, Annabeth, her love for Percy? Grover and his being drawn up into the monster? Tyson and his being willing to give his life for the others?

17. Kronos, size, the gathering, Percy fighting, Kronos, devouring Grover, the flights?

18. The monster, club meets and the confrontation, destruction? Killing Annabeth, her revival? Grover reappearing?

19. Clarisse, the fleece, destroying Kronos, coming together, Luke’s defeat, he return, the celebration, Talia, her revival, the wall resumiing its protective role?

20. The anticipation of a sequel?

FINAL DESTINATION 3

US, 2005, 93 minutes, Colour.
Mary Elizabeth Winstead, Ryan Merriman.
Directed by James Wong.

Two Final Destination films have proven popular box-office with younger audiences. This sequel (with an explicit acknowledgement from one of the cast that events seem to be repeating themselves) uses the original plot entirely. So, instead of a plane crashing, there is a rollercoaster smashing (which is a visual tour-de-force). One of the characters has premonitions about who will die and in what order. This time she has been taking photographs at the Graduation outing at a fair and derives clues from the photos of the about-to-be victims.

So far, so ordinary. However, most of the young characters are not going to be particularly missed by the audience. They bicker, they are fairly inarticulate (‘totally, like, totally’) and, if this is the future of the world, Lord save us. The actors (who are generally television regulars) perform as if appearing in a soap opera is a career peak.

The trouble is the deaths. They are particularly ugly (raising laughing gasps of disbelief) so that during the patches of poor acting, we are sadistically waiting for the next crunch (and so many of the deaths are crunches) to show up.

Extreme popcorn cinema.

1. The popularity of this series? The impact of the first film, premonitions, disasters, the plan of death, in the order of the plan, thwarting the plan?

2. This film repeating the plot of the first film? Characters, premonitions, disasters, order of death, trying to thwart death, the build-up to the final killings? The screenplay with reference to the plot of the first film and its detail? The same writers and director?

3. Audiences knowing what was to happen, interest in the characters, their relationships, the theme park, the premonition, its fulfilment? The special effects? Stunt work? The grisly deaths?

4. Interest in the characters? Their friendships, their clashes, school? The attention to their characters? Or merely cyphers for the dramatic action?

5. Wendy, audience interest in her, her personality, relationships with the rest of the group? Her experience of the premonitions? Wanting to get off the rollercoaster? Her panic? The others getting off? Their reactions to her behaviour?

6. At the fair, the various attractions, the rifle range, the young man and his strength at hitting the heights?

7. The visualising of the roller-coaster ride, the tension, the photography of the ride, the beginnings of disaster, things coming apart, forbidden to take the moving objects and the camera falling and tangling, people falling from the rollercoaster, the brutal experience?

8. Wendy and her past relationship with Kevin, the clashes, the discussions, then becoming dependent? Working out who would be next, where each was sitting in the rollercoaster seating?

9. The characters, the athlete in the club, the images of the swords, his head being smashed? In the street, warnings,the young man disregarding Wendy, the girlfriend and her being struck down by the truck? Going to the warehouse, the tantalizing scenario, the accidents, things coming apart, the nails and the girl at work? The escape of the young man, his cynicism, his death at the theme park?

10. Audience anticipation of what was to happen? A certain amount of glee at the gory presentations? The build-up to the finale –and the death of everyone?

THE HUMAN CARGO/ LA NAVE DOLCE

Italy, 2012, 90 minutes, Colour.
Directed by Daniele Vicari.

Stop the boats! Turn back the boats!

No, this film is not about current Australian asylum seeker policy. It is a documentary about events in Italy and Albania in 1991. Already this episode about Albanian refugees has been the subject of a feature film, L’ America, directed by Gianni Amelio in 1994, winner of the Catholic Film Office award.

This time, a documentary has been made utilizing footage shot at the time, home movie, film material, television footage. It is a striking compilation and tells the very interesting story of thousands of Albanians who took the opportunity to storm a cargo boat and sail to Italy. Thre are quite a number of talking head interviews from men, women and boys who made he trip as well as from the captain and local Italian authorities.

The film gives background to Albanian history in the later 20th century, especially under communist rule. When the Berlin wall came down, there was a sense of relief in many Soviet empire countries, including the very strict Albania. Protests began, people wanted to move away from the somewhat impoverished country.

In August 1991, a cargo ship which had travelled around the world and had brought back a load of sugar to Albania, was mobbed by, possibly, 20,000 citizens. It was a sunny day, people were at the beach, the word got around, and men and women and children headed for the boat, climbing aboard en masse. The visuals of the thousands on the boat are quite striking, prow to stern people.

While the ship needed some repairs, the captain decided to move out with his human cargo. They sailed to the port of Brindisi but were refused entry to the port. They sailed along the coast to the port of Bari which they entered. The mayor responded favourably but the government in Rome was far more cautious and ultimately critical of the behaviour of the mayor, condemning his him as unpatriotic.

However, what the mass of people as well as the authorities in Italy did not take immediately into account the need for food and water as well as hygiene. On arriving in Bari, many of the men leapt from the ship and authorities contained them on the docks. Others were bussed into the local stadium, food being thrown in by helicopter, gangs set up in order to commandeer the food, and there were riots on the wharves.
Ultimately, the people were returned to Albania.

The value of this kind of documentary is to present the visuals within the space of 100 minutes, reflection on what happened in Italy and the 1990s, but a challenge to what is happening in Italy, with refugees from North Africa, at the present, let alone the migrations of asylum seekers and refugees from the Middle East. The film is a sobering experience for Australians to watch, considering the comparatively few refugees who come by boat from Indonesia, the demands that it makes on government, on the detention centres as well as all that logistics of processing, housing, education.

The English version of the title, Human Cargo, gives a particular emphasis compared with theatre Italian original, La Nave Dolce, The Sweet Ship.

1. The impact of this documentary and is reconstruction of actual events? Of the 1990s? Refugees, immigration, 21st century issues, the issues of real people?

2. The footage and editing, the ship, the people, experiences at the dock, the stadium? The returning of the refugees? Television footage, film footage? Musical score?

3. The titles, the different perspectives, the more genial Italian title, the objective English title?

4. The history of the refugees, 20th century, persecution, migrants, causes, searching for a different quality of living? The refugees in this film?

5. Italy, the number of migrants, by land, by sea? Italy as the dream? For thousands? For Albanians? Albanians, Italian language, television programs, Italy as paradise, comparison with their own way of life? Their being thwarted?

6. The 20th century history of Albania, communist rule, living in a time warp, harsh conditions? Police state, protest, prison? The fall of the Berlin wall, the tearing down statues in Albania, new hopes in the 1990s?

7. August the seventh 1991? The ship, the voyage to Cuba, unloading the sugar, in the port? Thousands at the beach? People running towards the boat, boarding by all means possible, the carefree attitude, the thousands?

8. The technique of the film to use voices of those who travelled: the woman and her story of her husband and her brother? The young men at the time? The middle aged men? The film director? The captain of the ship? Italian authorities in Bari, the local officials, the woman with strong views about the migrant treatment, the mayor of Bari, the neighbour and the restrictions she shared, the words of the president and his condemnation of the mayor?

9. The captain, the repairs, the need for water, the decision to go, the voyage, the need for food and water, people going without? Cheering initially, the vast numbers all over the boat? Becoming silent, refused entry to Brindisi, going up the coast, entering Bari Harbour, the helicopter and the throwing of the sandal?

10. Bari, the orders, the role of the captain, the mayor and his presence, at the dock, decisions from Rome and the government, the buses, taking people to the stadium?

11. The men diving, arriving at the dock, disembarking more passengers?

12. Controls, lack of control, the police and their work, more people coming, the need for food, the beginning of riots, hoses, the Albanians and the gangs?

13. The stadium, harsh conditions, exposed, lack of hygiene, the helicopters, dropping food, greedy people, the gangs and control?

14. Women and children, care for them, allowed out?

15. The plans for repatriation, the people tired, wanting to go back, boarding the planes, in the planes, the bonds?

16. The Italian assessment of the situation and humanitarian considerations? The harsh views of the president?

17. The history of migration from Albania, the range of boats, the number of people who stayed?

18. The story of the woman, pretending to be sick, helping with the medical situations, in the stadium, her going back? The young man 17, and his experiences? The boy 14 and his memories? The film director? The middle aged men and their experiences?

19. The continuing of refugee issues into the 21st century?

RUBY SPARKS

US, 2012, 104 minutes, Colour.
Paul Dano, Zoe Kazan, Chris Messina, Annette Bening, Antonio Banderas, Aasif Mandvi, Steve Coogan, Deborah Ann Woll, Elliott Gould.
Directed by Jonathan Dayton and Valerie Faris.

There have been many films about imaginary friends, even films where a writer’s muse comes alive. This is one of those films. Ruby Sparks is the creation of a young writer, Calvin (Paul Dano), who had success in a novel published in his late teens and has been silent for ten years. Critics are clamouring for his new work.

But, he is something of a recluse, especially in contrast with his over-libidinous brother, Harry (Chris Messina) and his eccentric mother (Annette Bening) who has taken up with a furniture-artist (Antonio Banderas). He is going to a psychologist (a genial performance from Elliot Gould) who urges him to write something, however small. He meets a girl in a park who takes a liking to his dog. He begins to write about her, Ruby Sparks, vividly – and then she is there, alive and sparking in his life. Not only that, his brother and then his mother and others are able to see her and interact with her as normal.

He is rather possessive and discovers that by typing her story, he is able to control her, to speak French, to be angry, to be loving.

A main reason why Zoe Kazan is so believable as Ruby is that she wrote the screenplay herself, doing what Calvin is doing in the film, giving her a rich and varied life, which she as screenwriter, can control.

At this stage, while watching the film, and its picture of bringing a person to life, of having control, of creating in one’s own image and likeness (or not), the screenplay was suggesting far more than the life of a creative writing. The emphasis was on creation – and, what is lightly called, ‘playing God’. There was in old philosophy curricula a course called Theodicy, a reflective course on the meaning of life and the possibilities of God (rather than Theology which is an exploration of revelation about God). This film would be an intellectual-emotional illustration of issues of playing God (or whether God’s creatures are endowed with free will and can choose their destinies and behaviour even if it is not what the creator intended and hoped for).

So, the film took on new meaning over and above the entertainment value of watching a writer and his creation and personal dilemmas.

Paul Dano often specialises in sad sack characters, like the non-talking young man in the directors’ previous Little Miss Sunshine) or in his eventual confronting of Daniel Day Lewis in There Will be Blood. This suits the film. We sympathise with Calvin but not overly. It is more interesting thinking about the implications of what he is doing in creating Ruby Sparks.

1. The impact of the film? Offbeat? Imaginative? Philosophical? Written by the star, Zoe Kazan?

2. The blend of the real and the surreal, magic realism?

3. Calvin, his world, young and successful, ten years later, the American novel? Writer’s block? His agent, the reading? The fans, the signings? The discussions about what he would do next? Harry, the relationship, his support? Calvin as awkward, loner, apart, few social graces – and the references to J.D. Salinger?

4. Dr Rosenthal and his sessions, the genial listening to Calvin, the counsellor, therapist, the suggestion of the exercise in writing a page? Calvin reporting back? Dr Rosenthal recurring during the film, supporting Calvin?

5. Calvin and his dream, the dog, the park, the encounter with the young woman, talking, her understanding him, sharing?

6. Calvin waking, writing the page hurriedly, his talking to Harry, Harry and his girlfriend? Harry and his permissive and emphasis on sex approach to life, the contrast with Calvin?

7. The character of Harry, his sexual preoccupations, his love for his brother, continued support, the meetings, the meals, Harry and his faux pas? The girlfriend? The discussions about Ruby?

8. Calvin, discovering the women’s clothes in his apartment, finding Ruby in the kitchen, her cooking? Literally creative writing? The nature of creative writing and creation? Ruby as a projection, male fantasy? Psychologic, (**??) Calvin’s Anima, the challenge of the Anima? Ruby’s personality, capacity for relating, her being positive, the meals, cooking, speaking French? Calvin continuing to write? Ruby and her meeting with Harry, Harry’s amazement? Ruby existing in the real world?

9. Ruby, her own life, her socialising, her background not being filled in, her not remembering her past? Talking, at home, the social and nobody with her? her being upset? Assessing her life? Calvin, his love, the relationship, yet ignoring her at the party? Ruby becoming more desperate?

10. The importance of the visit to his mother, her character, art and style, breezy, references to her children, her former husband? Mort, his supporting Gertrude? Breezy attitudes? Discussions with Calvin? The furniture – and the gift, Calvin’s reluctance?

11. The growing difficulties, Calvin and his being a puppeteer, yet his creation wanting her freedom? His changing her by writing and typing, speaking French, her moods, erratic behaviour, arguing, tied up, his making her affirm him?

12. How well did Calvin develop as a personality, in his relationship with Ruby – or in his simply projecting? His relationship with his ex-girlfriend and encounter with her?

13. The decision to let Ruby go? His regrets? The rather twee ending and meeting the same girl on the beach – and her partly recognising him?

14. The agent, urging Calvin to write? Cyrus Modi and his influence? The range of people in Calvin’s life, though limited?

15. The film and its theme of creativity, the philosophical implications, the ‘playing God’, the creator as puppeteer, the control? The characters not wanting to be controlled, rebelling, the theme of human freedom? An allegory for humanity in its relationship with God? The blend of creative writing, psychological dimensions, philosophical and theological implications?

THE COURTSHIP OF ANDY HARDY

US, 1942, 95 minutes, Black and white.
Lewis Stone, Mickey Rooney, Cecilia Parker, Fay Holden, Ann Rutherford, Sara Haden, Donna Reed, William Lundigan, Frieda Inescort, Harvey Stephens.
Directed by George B. Seitz.

George B. Seitz directed fourteen Andy Hardy films, the last released in 1944, the year of his death. This film comes rather later in the series. Andy Hardy is out of school, he is working in a garage. Judge Hardy is busy on a separation and custody case. Marian Hardy returns from New York, all modern and fashion conscious. The Hardy family does not respond well.

Donna Reed appears as the daughter in the custody case, a wallflower who is brought out of herself by Andy. William is the rich man-about-town who is pursuing Marian Hardy. Ann Rutherford appears at the end of the film once again as Polly Benedict.

The film offers a lot of homespun philosophy, especially about family, broken marriages, the care of the children, reconciliations. There is a lot of talk about fashion and being modern and self-assertive. Even Mrs Hardy gets into trouble in being conned by a company which advertises goods and charges over-much for their delivery.

Familiar themes – but, as always, audiences who have go to know the Hardy family are happy to be in their company.

1. The popularity of this series of films? Andy Hardy growing older? Marian and her going to New York? The status of the judge and his wife?

2. The familiar scenes, the Hardy home, the town? The garage? The courts? The emphasis on cars? The seriousness, the humour? The musical score? The perennial cast?

3. Andrew Hardy, Mickey Rooney’s presence? His working at the garage, his earnestness? His fixing the car, the breakdown? The accusation of stealing the car after he gave the agent the lift? His worries, going to his father, the explanations? The role with Melodie? Taking her to the dance? His embarrassment? His obeying his father’s orders? The friendship with Melodie, talking? Her change, taking her to the dance, the boys’ response? His old-fashioned attack on Marian and her nightie-dress? The attitudes of the early 1940s? The language? His clash with Jeff Willis? The finale, everything in order, the charges being dropped? His being ready for his next adventure – and the meeting with Polly Benedict, their past, their future?

4. Judge Hardy, wise, his love for his family? His presence in the court with Mr and Mrs Nesbit? Their quarrel? The fate of Melodie? His suggestions for reconciliation? For help for Melodie to come out of herself? Urging Andy to take her to the dance? His relationship with his wife, her buying the suit – and the mix-up with the con artists and the charges? Her reaction to Marian’s dress – and her memories of her past? Aunt Milly and her place in the house?

5. Marian, coming back from the city, sophisticated, her talking, her clothes, the upset at the table? Her going out with Jeff Willis? His misbehaving? Her reconciliation with the family?

6. The Nesbits, the past, their quarrels, their accusations against each other? Their concern about Melodie? The attempts at reconciliation, the fights? Returning to talk with the judge? Melodie, her age, wallflower, self-consciousness, Andy taking her out, her being at the dance, Andy and his paying the boys to dance with her? Her return home, her transformation, Andy’s surprise, her being popular at the dance? The young man attracted to her – and her future?

7. The popularity of this kind of small-town America, its characters, its problems, solutions, its values?

ON THE ROAD

France/Brazil, 2012, 140 minutes, Colour.
Sam Riley, Garrett Hedlund, Kristen Stewart, Kirsten Dunst, Amy Adams, Viggo Mortensen, Elisabeth Moss, Alice Braga, Steve Buscemi, Terrence Howard.
Directed by Walter Salles.

On the Road was writer Jack Kerouac’s autobiographical novel of his travels along the highways of America, the exuberance of discovery of the wide range of American lifestyles as well as his seeking for greater freedom and freedoms. It was the novel of what was called The Beat Generation, a reflection of life between 1947 and 1951 which was to influence young Americans, especially, over the next decade. A number of film-makers have wanted to transfer it to the screen but failed. Now, using a screenplay by Jorge Rivera, Brazilian director, Walter Salles (best known for his Central Station and The Motorcycle Diaries) has filmed it.

British Sam Riley is Sal Paradise, the Kerouac character, with writing ambitions who is introduced to a literary group which includes Carlo (the novel’s equivalent of poet Allen Ginsburg) who then introduce him to the confident and charismatic Dean Moriarty (the equivalent of Neal Cassady). Sal and Dean immediately click. Sal is in admiration of Dean’s energy and freedom despite his car-stealing life and prison, Dean admiring the more dependable and creative Sal. There is also Dean’s young ex-wife, Marylou (Kristen Stewart) and his new wife and baby, Camille (Kirsten Dunst).

Sal has already been on the road after his father’s funeral and travelled across the states, joining in casual work including cotton-picking in California. Sal then travels with Dean and Marylou, sharing their escapades, from sex and drugs and shoplifting to encounters like that with Old Bull Lee (Viggo Mortensen) and his wife Jane (Amy Adams) and their alternate lifestyle in Louisiana.

All the time, Sal is taking notes, writing.

On another trip to Mexico, Sal becomes very sick and is finally abandoned there by Dean. Which means that Sal goes back to his more ordinary life in New York to write his book – yet still pondering on the influence of Dean. Dean has become inspiration – and, at one stage, is referred to as holy, almost sanctifying his freedoms quest.

Audiences who have read Kerouac and been moved and inspired by his work will have a judgment on whether the film dramatises the book well or adequately, capturing the depths of its themes. Audiences who have not read the book or who do not know the Beat Generation may be fascinated by this road movie of rebellion against the status quo. Other audiences may wonder about what freedoms the film is really exploring and expounding. Is it transcending one’s limitations, developing oneself – and in relationships with others? Or is it, as seems so often during the film as we see, over and over, sexual promiscuity, indulgence in drugs, personal betrayals and refusal to take responsibility for behaviour (which is what Old Bull Lee seems to be saying about Dean), freedom merely as the capacity for moving beyond any felt restraints just for oneself. (And that leads to the temptation of thinking that a lot of what we are seeing is just the Emperor’s New Clothes.)

At well over two hours, with a lot of repetition, and despite Garrett Hedlund’s arresting performance, what are we left with?
(Audiences interested in these characters should see Heart Beat with Nick Nolte as Neal Cassady and Sissy Spacek as his wife; John Heard is Kerouac and Ray Sharkey is called Ira but is based on Allen Ginsberg. There is also the 2011 film about Ginsberg’s poem, Howl, with James Franco. Ginsberg is to be portrayed by Daniel Radcliffe in the forthcoming, Kill Your Darlings, with Jack Huston as Jack Kerouac.)

1. Jack Kerouac’s novel? Its place in American literature? In culture? Its recreation of the late 1940s? The influence on American readers? International? The beat generation and its ethos? Later?

2. The nature of the adaptation, Sal’s narration, scenes of Sal writing, his notes, typing, the end and his completion of the book? The voice-over – and his final comments on Dean Moriarty?

3. The correspondence of the film’s characters to the real-life characters: Dean Moriarty and Neal Cassidy, Carlo and Allen Ginsberg, Sal and Jack Kerouac? The references, the quotes?

4. Road movies, this film as a literal road movie, the opening, the walking and the feet, the American highways? City and country? The variety of states, the variety of towns? Trucks and workers, seasonal workers, cotton pickers, the hitchhikers? The seasons? Speeding along the highways, the police? Stealing from shops? Hustling?

5. The musical score, the range of songs and music from the era?

6. 1947-51? The United States, post-war society, families, break-up, rebellion? The desire for freedom, the nature of the freedoms? Sexuality, drugs? The Truman era and quotes? The economy? The movies of the period, the songs? The various strands of society?

7. Sal as Jack Kerouac? The Hispanic background? New York City, on the road, his father’s death and funeral, the bond with his mother, the home sequences, the family, the visit to North Carolina? The cotton pickers and his relationship with Terry? His return (**YOU SAID RETURNS.. PLURAL?) to New York, the end, his place in society and his going to the concert, rejecting Dean on the sidewalk?

8. Sal and his meeting with the group, their enthusiasm, Carlo, his talk and poetry? Melodramatic and romantic? Literature? Dean and his reputation? The visit, his coming nude to the door, his being with Camille? This setting the tone for the relationships?

9. The portrait of Dean, Garrett Hedlund and his screen presence, his age, the story of his father and his search for him, imagining glimpsing him amongst the hobos, the later search and the barber’s not able to tell him anything about his father? Stealing cars and seeing him in action? Jail? His drinking? Library and reading, especially Proust? His energy, charismatic presence? His freedoms, his drug dependence, drinking, Carlo and his love? Marylou, her age, the relationship, sexuality? The divorce? Travelling together, the friendship with Sal, admiring him? The different trips, his driving, speed and the police? His being driven? The encounter with Rita, the sex scene? With other women? Camille, the baby, her return to San Francisco? Ed, Galatea, Ed abandoning her, the trip, the group arriving in the freezing car in North Carolina, the food? Dean and his offer to drive Sal’s mother back to New York, her paying the fine? The decision to go to California, the visit to Old Bull and to Jane? Listening to Old Bull’s advice and experience? San Francisco, going out with Sal, Camille ousting Dean from the house, her watching him from the window? His having the photo of the baby? Driving to New York, the sharing of the expenses in the car, the homosexual man and his proposition, the twenty dollars? Sal and his negative reaction? Sal and the decision to go to Mexico, Dean and his saying he spoke Spanish? The young boy and the drugs, the drug-induced experiences? Sal and his illness but Dean leaving him? Dean’s final appearance on the sidewalk, Sal letting him go?

10. Dean presented as hero? Even holy? His motivation? His effect on Carlo? The effect on Sal? Yet Old Bull Lee and his critique of his selfishness, hedonism? Dean and his principles – or not? Self-centred? At the end? Kerouac idealising him?

11. Carlo, his place in the group, love for Dean, his friendship with Sal, his poetry? The threesome and his difficulties? Going to Africa? The passing of the years, sending his poems to Sal and the dedication?

12. Marylou, from Denver, her age, teaming up with Dean, her motives? Travelling, sexual partner, the divorce, yet continuing to travel? At North Carolina, with the police and her explaining that she was Dean’s wife? The nude drive in the car? The encounter with Sal? Her desires to settle down, have a family? Her final note and leaving?

13. Camille, her status in society, relationship with Dean, the pregnancy, the baby, her self-sacrifice, San Francisco, her ousting Sal and Dean?

14. Sal’s family, his mother, sturdy, love for her son, support? The North Carolina visit to the family? The drive back to New York? Back with his mother at the end and receiving Carlo’s poems?

15. Jane and Old Bull, New Orleans, Old Bull and his life, work, philosophy, drugs? His telling the truth? Jane, Galatea, the discussions about sexual behaviour?

16. The music at the opening of the film, the club, Terrence Howard as the musician, his taking them home to his wife?

17. The homosexual traveller, his encounter with Dean, the proposition, the money? The contrast with Carlo, the intensity of his passion, his explanations of his attachment, the need for emotional connection, support?

18. The cotton pickers, Terry, her baby, Sal and his relationship with her?

19. Sal and Dean on the town in San Francisco, Sam Gaylard and the music, their joining in, the exuberance?

20. The nature of freedom – how well did the film communicate Kerouac’s vision of freedoms? Or did it merely use the conventional desire for freedom as no restrictions?

21. Sal as a person, as Jack Kerouac, the America of his time, his experiences, and his writing?