UPSTREAM COLOR

Upstream Color comes with much critical praise. However, it also comes with much bafflement from the popular audience. It is a work of Shane Carruth who has written and directed as well as photographed and edited the film – and acted in one of the central roles. It is his second film after the critically praised Primer in 2004.

The film is not easy to describe in narrative form. Rather, it relies on atmosphere, on suggestions, on the audience trying to understand what was going on, the experience of the central characters.

The film begins with the focus on a thief, concerned about earthworms, and two youngsters on bikes who are interested in the worms and the effect that they can have when placed in alcohol. There is a transition to a pig farmer who collaborates in something of a transplant process for a young woman who has become ill.

The film focuses on the woman, Kris, who goes through bewildering experiences, not sure of her identity, becoming physically ill, losing her job. She encounters a man who befriends her, supports her, falls in love with her, and is protective.

While this description might sound lucid (it is hoped), the elliptic narrative still requires a great deal of attention, empathy for the woman and what she is experiencing, exploring of the puzzlement about what has happened. There is a focus on the pigs, on the pig farmer and the experiments he was conducting which have dire consequences at times for the young woman.

Throughout the film there is a focus on Thoreau’s Walden and its philosophy of life in the 19th century. At the end, a group of people read Walden and, perhaps, discover something about what has happened in their own lives, akin to that of Kris.

Upstream Color is the kind of film that generally does not appeal to a wide audience. Those for whom it makes an impact praise it, one to tease out its issues and questions.

1. The impact of the film? Puzzling? Impressions? Narrative? Imagination? Themes and reflection?

2. The work of the director, his extensive contribution to this film?

3. The locations, real and surreal? Ordinary, jobs, the city? The world of the thief, the youngsters, the worms? Biological issues? Biogenetics? The pigs? The experiments? Kris and Jeff? Meeting, life, identity, search?

4. The pacing, the editing, the musical score? Audience reaction, thinking, pondering, questioning? Emotional response to the characters and situations?

5. The worms, the thief, the collection, the boys and the cycling, the drinking, the worms in the drink? The transition to the pigs?

6. The pigs, ordinary, the worms, Kris and her experience, the sampler, a transplant, the worm in her, the knife and her trying to get the word out?

7. In the dark and the weight, Jeff finding her, care, her imagination, the effect, the woman inside her, the knife, cutting? The references to Thoreau and Walden? The use of the book, the cover, people reading it? Relevance?

8. Kris and her life, moving in and out, sometimes lacking control, her job, seeing her at work, her explanations for her condition, being fired? Jeff and his relationship, care, talking with her, in bed, the worry, the visits?

9. The sample, no words, the sack of pigs, the bridge and his drowning them?

10. The pigs floating upstream, the flowers and their colours, the collectors?

11. The house, the sounds, the flow under the house, Kris and her concern, Jeff and his search?

12. Jeff, the explanations about his job, the office, consulting, the clash with the workers, scattering the papers?

13. Kris, swimming, collecting the stains, the explanations, warden?

14. Kris, the gun, the room with a sampler, the shooting?

15. Giving the copy of Walden to all the sample people to read, their reading it, search, assembly? The group coming together, the confrontation?

16. Kris, the sampler, the insertion, the affinity with the pigs, the scenes with the pigs, the bonding?

17. Kris, her future, Jeff? The other samples?

18. The issues of biogenetics, control, humanity, identity, loss of identity, becoming victims? Taking stands?

THE TURNING

Australia, 2013, 180 minutes, Colour.
Rose Byrne, Cate Blanchett, Miranda Otto, Hugo Weaving, Robyn Nevin, Susie Porter, Wayne Blair.
17 different directors for the 17 short stories.
Credits with each story.

The Turning is an ambitious project from producer-director, Robert Connolly. Taking the collection of short stories by celebrated West Australian author, Tim Winton, Connolly sent the stories to a range of writers, directors, cinematographers, producers inviting them to choose a story that they liked. There were no limits on what the film-makers could do, each adapting their story, using the location, choosing their cast, and being allowed to portray characters who ran through many of the stories with different actors.

Movie-watchers may remember that Robert Altman did something similar with short stories by Raymond Carver in his film of 1993, Short Cuts. However, the stories were intertwined within the screenplay rather than presented as separate stories.

The Turning runs for 3 hours, screenings generally having an interval.

The film is introduced by an animation sequence from Marieka Walsh, using her quite distinctive colour wash style, with a text from T. S. Elliott’s Ash Wednesday about turning, not turning, turning and hoping. It is recited by Colin Friels.

The whole film is the equivalent of the short stories, presented visually and aurally.

In the first narrative, directed by Warwick Thornton, the voiceover is by the central character actor in the story,, as well as by Winton himself. It introduces the West Australian location for the stories, themes of adolescence, hopes and ambitions, friendships and frustrations. These scenes pervade many of the other stories.

While about six of the stories a stand-alone, eight of them focus on a character, Vic, who is played by eight different actors, including a young aboriginal actor when the character his first introduced in a small scene of the boy encountering a young girl on the beach and experiencing his first kiss. Many audiences will not pick up the link between the various stories of Vic until it has had time to reflect and discuss, especially with the aboriginal stories. There are three stories about two aboriginal brothers, Frank and Max. Max appears in the story, The Turning, where he is played by a white actor. In another story, Vic’s father is played by an aboriginal actor.

So, Winton and the film-makers invite audiences to look at different facets of the characters.
We see Vic as the young boy, twice as an adolescent, as a young university student, as a middle aged man with his wife and mother, going to visit his father, and finally coming to terms with himself. In the stories about Vic, his wife Gail appears in three and his mother, Carol, in two of them.
In many ways, this would be more than enough for one film. However, the emotional stories of the two aboriginal brothers, one playing an almost-deadly trip on the other in one film, their reconciling while surfing, after the young the younger brother had walked off an Australian rules match at a critical moment.
Of the 17 directors, some of them are first time directors of films, coming from stage or from dance or from the visual arts. There are also the first time films from actors Mia Wasikowska and David Wenham.

The film also has a vast cast, many of them not well known names but who should have successful careers after their performances in this film. Well-known actors include Rose Byrne in one of the best performances in the film, Miranda Otto, Cate Blanchett working with Richard Roxburgh and Robyn Nevin for a short comic sketch which some reviewers thought too slight and light for such a film. However, they bring this short episode to vivid life. Hugo Weaving is very good as Vic’s father. And Susie Porter as Carol cleaning a house in one of the more straightforward stories.

Audiences will pick and choose amongst the 17 films as to what they like best, which films work best.

However, by ranging over a wide number of characters, and the different facets of the same character, Winton and the film writers and directors have explored, however briefly, many aspects of what it is to be Australian, indigenous or later comers to the land. The film shows nature, coast and beaches, mountains, more rugged landscapes. There are stories of both men and women trying to cope with life. There is a spirituality underlying many of the stories, some interestingly explicit themes in the title story, The Turning, directed by Claire Mc Carthy (The Waiting City).

There is good and evil, love and hatred, the friendship and betrayal, hardship and joy, and the experiences of a range of ordinary people.


1. The anthology of short stories? The creative idea of assembling them? Portmanteau? The difference between seeing and hearing the stories and reading them?

2. The work of Tim Winton, his reputation? From Western Australia, the locations, the towns, the coast, the beaches? His characters within contexts? The town of Angelus, homes, school?

3. Robert Connolly, his work as co-ordinator? Invitation to the contributors, the choices and their treatment, writing, locations, photography, direction?

4. The title, its meaning, the quotation from T.S. Eliot and Ash Wednesday?

5. The impact of each story in its own right? As a unit? Its location within the film? Connections or not to other stories?

6. Ash Wednesday:
(narration, Colin Friels, d. Marieka Walsh): introduction to the film, the animation and its style, the wash, the sharks and the swimming, the recitation of Ash Wednesday by Colin Friels, turning and not turning, turning and hoping? The reprise of the theme and the images at the end of the film?

7. Big World:
(James Fraser, Henri Phillips, narration: James Fraser, Tim Winton, d. Warwick Thornton): the narrative, using Tim Winton’s words, the world of Lenny, his age, at high school, his ambitions, the exams, his not doing well? His friendship with Big? Big’s appearance in size, slow-witted? Exam results? The work in the abattoir? The hard work? The flashbacks, Lenny and his friendship with Big? As young boys, Big and his following Lenny? Lenny and his not having girlfriends because of Big? Big following along the road? Taking the van, driving, picking up the girl, speculation about Big and the girl, her being slow, liking Big? The phone call home, angry parents? The van collapsing? The aftermath and Big’s death?

8. Abbreviation:
(Joseph Pedley, Cheyanne Pearce, d. Jub Clerc): the introduction to Vic, as a young boy, on the beach, by himself, the encounter with the girl, her approach, fingernails painted, the missing finger? The attraction, the kiss, the effect? The aboriginal boy playing Vic? The symbolism of the fishing hook and Vic's holding it?

9. Aquifer:
(Callan Mulvey, d. Robert Connolly): the teacher, hearing the news, the deaths of the children, his getting the car, travelling, going to the river, seriously introspective about his memories, himself as a boy, the other boys, the bullying? The dismantling of the car? The top, the boy floating, falling into the water, disappearing? The little boy doing nothing? Whether he could have done something? His motives for letting the boy drown? The importance of the memories, accepting them? Coming to terms with them?

10. Damaged Goods:
(Dougie Baldwin, Taylor Ferguson, d. Anthony Lucas): Vic and his wife, going through the box, the photos of Allison? Vic as introspective at school, Alison and her birthmark, the nickname, Strawberry? Playing basketball, with the other girls? Vic watching? The request for poems for the magazine, her poem, the publication, Vic praising it, her reaction, his later praising it again, her apology? Allison in herself, the mark, getting on well with the girls, the victory of basketball? The effect on each? Later seeing her play tennis? The information about her death?

11. Small Mercies:
(Oscar Redding, Mirah Foulkes, Carol Burns, d. Rhys Graham): Peter, the death of his wife, his grief, with his son, travelling, meeting the former girlfriend’s parents, their supporting him, their information about their daughter? His taking his son fishing, the bonding between the two? The girl arriving, talk, her drinking, the sexual advance, calling it a mercy? His rejection of her? Her being hurt? Coping and his future?

12. On Her Knees:
(Susie Porter, Harrison Gilbertson, d. Ashlee Page): mum, Vic, cleaning and the house, mum doing it for some years, her being accused of stealing the earrings, her cleaning the house on principle, not taking the money? Vic and his work, attitude towards his mother, his university studies? Urging her to take the money? Finding the earrings, putting them in the kitty litter? His change of heart, taking them out, putting them on the table with the money, not taking anything? Seeing his mother take the flower?

13. Cockleshell:
(Brenna Harding, Toby Wallace, d. Tony Ayres): the adjacent houses, the area, the water? Interconnected lives? Brakey, his age, with his mother, lifestyle, watching Agnes, spearing the fish, following her, the connection between the two? His attraction, love, the shower scene and masturbation? Agnes, her fishing, quiet, going home, their ordinary lives, the town, her attitude towards Brakey? Her father, reactions, hearing but not seen? The burning of the house, Brakey and his anxiety, wanting to going to save Agnes? Her appearing? Who had lit the fire?

14. The Turning:
(Rose Byrne, Miranda Otto, Matt Nable, Myles Pollard, d. Claire Mc Carthy): the connections with the other stories of Max, Rae and her marriage to Max, living in the caravan, the park, her daughters, his violence, her facial disfigurement? His being quiet, watching the television, the meal, pulling the chicken apart? Rae and her love for Max, yet her loneliness, her going to the darts nights at the pub, her being on the outer? Doing the laundry, the encounter with Sherry, friendly, talking? About the violence? Her visiting their home, the introduction to Dan, the bible on the table and her reaction, the comment about no alcohol, Dan being a reformed alcoholic, the couple as born-again Christians? The effect on Rae? Going to the religious session? The fair and buying the globe with Jesus and the snow? Rae and her fascination with Jesus? Asking Sherry how the religious experience felt, the fire inside, the nature of belief? Max and his accusing her of being a slut, hurt? Her thinking of Jesus? Seeing Jesus walking on the water? Her future? The religious dimension in an Australian story?

15. Sand:
(Jakory Blanco, Jarli- Russell Blanco, d. Stephen Page): the two averaging boys, their fathers, on the beach, going fishing, the boys playing, Max needing the hole, frank going in, next jumping on the sand, it’s falling, the possibility for burying frank, his finally getting out and appearing, Max is reaction?

16. Family:
(Wayne Blair, Meyne Wyatt, d. Shaun Gladwell): a story of Max and frank? Frank, playing Australian rules, the use of the authentic footage, the finale, his being urged to keep the goal, his stopping, walking away, reflected in the shower? Max and his questioning why this happened? Effect on frank, wanting a new life? Going to the beach, the two going out into the waves, surfing, coming in, Max getting into triple guy, the blood, the danger of sharks, frank saving his brother?

17. Long, Clear View:
(Matthew Shanley, Di Adams, narrator, Julie Rigg, d. Mia Wasikowska): the young Vic, his introspection, with his mother, her talking in the car and his tuning her out? Looking at himself in the mirror, his image? His father’s rifle, aiming it at the people passing by the window? The work of the director, young, the stylistic differences from straightforward storytelling?

18. Reunion:
(Cate Blanchett, Richard Roxburgh, Robyn Nevin, d. Simon Stone): a story of middle age, with Gail, at home, the preparation of the Christmas dinner, Vic’s relationship with his mother, her not getting on well with Gail? Gail, cooking, tasting things, reflective? Carol’s arrival, all noise and bustle, the gifts, the tea for Gail? Asking about going out to the relations? The pressure on Vic? Her searching for the house, no one home, going to the pool, Carol falling in, Gail jumping in, swimming, laughter? Vic in the house, the photos, the wrong house? Going home, changing, the good spirits, Gail and Carol and their enjoying the adventure?

19. The Commission:
(Hugo Weaving, Josh Mc Conville, d. David Wenham): Vic in middle age, traveling along the dusty roads, finding his father’s house, his father welcoming him, the embrace? 15 years, the father not having had a drink, Vic bringing news of his mother’s illness, going to do the delivery job with his father, staying the night, waking, questions for his father? Asking about the past, his father reminiscing, Speculations about the past and the pressure on his father?

20. Fog:
(Dean Daley- Jones, Eva Lazzaro, d. Jonathan auf der Heide): the story of Bob, and played by an aboriginal actor, his work and the police force, and the countryside, the lost walker, the search, finding the dead girl, the journalist as a cadet, accompanying Bob, taking the photo, the vigil with that the body, Bob and his explanations, the pressure in the police force, the corruption and the flashback, his leaving the police force, drinking?

21. Bonar Mc Pharlin and his Moll:
(d. Justin Kurzel): the town, the men and their interactions, the women, the owner and his reputation, relationships? Bonar and everybody talking about him, but not really knowing him? Myths and whispers? Story isolated from the other stories?

22. Immunity:
(Yaron Lifschitz): ballet and modern dance, the chairs representing the seats in a train, and the men sitting, the young woman entering, the wanting to sit near Vic? The other women? The choreography of the dance? Illustrating the theme?

23. Defender:
(Dan Wylie, Kate Mulvaney, d. Ian Meadows): Gail and Vic visiting the couple, her statement about the affair, his seeming non-reaction? The vitality of the couple, friendship? On the beach, the shooting? Vic not wanting to shoot? The decision to shoot the targets, getting the gun, his being a crack shot every time? Stopping? A symbol of some kind of healing?

24. The linking of the stories about Vic and Gail? Vic as a young boy with the girl on the beach, his introspective self and looking in the mirror and pointing the rifle, the encounter with Strawberry Allison, cleaning the house with his mother during his study years, in middle age, the Christmas story with his wife and mother, the train ballet sequence, his visiting his father and trying to find out the story of his father, the final story and his shooting the rifle?

25. The stories of Gail: going through Vic’s box and worrying about Alison, the jokey reunion story, the last story and her affair, trying to get through to Vic?

26. The stories of Carol: with her introspective son at home and in the car after her husband left, cleaning the house and her principles, the jokey reunion at Christmas?

27. The stories of Bob: his leaving, Vic coming to find him after 15 years, his memories of his life with the police and dealing with the police corruption?

28. Stories of Max and Frank: the sand episode on the beach, Frank leaving the football field and Max’s puzzlement, the surfing and the rescue? Max’s story with Rae?

29. The cumulative effect of watching these stories, enjoying them in themselves, making the links for reflection?

TONIGHT AND EVERY NIGHT

US, 1945, 91 minutes, Colour.
Rita Hayworth, Lee Bowman, Janet Blair, Marc Pratt, Florence Bates.
Directed by Victor Saville.

Tonight and Every Night is the title of the song which features in this film, as do several others from Jule Styne with lyrics by Sammy Cahn. The films comes from Columbia Studios, not noted for their spectacular musical musicals, But Rita Hayworth featured with Fred Astaire in You’ll Never Get Rich, You Were Never Lovelier and Cover Girl with Gene Kelly.
The story is slight, a wartime story, memories of the blitz, of the theatre that never shut, the morale boosting for British and American troops. The theatre is presided over by Florence Bates, bringing her usual severity with some charm. Lee Bowman is the hero, an Air Force officer who falls in love with Rita Hayworth. Janet Blair offers good support, in acting and singing, as Judy. Marc Platt shows himself a very versatile dancer (and was one of the seven brothers for the seven brides). There is an amusing interlude with old time vaudeville and the playing of a xylophone.
The film was directed by British Victor Saville who moved to United States with such films as The Green Years and Green Dolphin Street and directed a wide range of films.

1. The popularity of Rita Hayworth? Her musicals in the 1940s? A British war memoir, tribute to the British spirit during the Blitz? The American presence in England?
2. The slight story, the show must go on, plucky spirit in wartime? And a romance?
3. The colour photography, for the shows? Choreography? The range of songs and performance? Rita Hayworth singing and dancing, Janet Blair singing, Marc Pratt and the versatility of his dancing? The vaudeville act with the comedy and xylophone and Roz helping out? The London setting, glimpses of the bombardments, sheltering in the underground, fire and destruction? The spirit of England and people?
4. The opening, the performance, the journalist from Life Magazine, photos, stories?
5. Rosalind, from St. Louis, in the UK, dancing, performing, singing? Friendship with Mrs. Tolliver? With Judy? The role of the dances? The effect of the war, sheltering, the bombardments, continuing the show, living and working together?
6. Mrs. Tolliver, running the theatre, hard work, working the girls, Tommy’s audition, the advice from the cleaning ladies? Her rapport with the girls, with the soldiers?
7. Tommy, coming from Manchester, letter of recommendation, his dancing audition, improvising to the range of music? His place in the show? His love for Roz? Friendship with Judy? His reaction to Paul, saying to Roz that she could go to Canada? In the pub with Judy? Killed?
8. Paul, the Air Force, his friends, going to the theatre, attracted by Roz, courting her, the meal, the trick with the man from St. Louis and her hard reaction? Not responding to his phone calls? Performing for the Air Force, meeting Paul again, relenting? His being relied on, the secret mission? His absence for a fortnight, Ros and her reaction? His father coming to the theatre, a minister, the quotation from St. Paul to the Corinthians? The proposal? The father’s pride in Roz as a dancer, as contributing to the war effort?
9. Roz, falling in love, and responding to Paul, resenting, worried about his being missing in action? His return? The proposal, that she should go to Canada? Her not wanting to leave the troupe, especially after the death of Tommy and Judy? Her finally going?
10. The film in retrospect, the style of the forties, the look of the forties? Yet a memory of World War II?

THE SECRETS/ HA-SODOT

Israel, 2008, 127 minutes, Colour.
Ania Bukstein, Michal, Shtamler, Fanny Ardant.
Directed by Avi Nesher.

The Secrets is a striking Israeli film, rather surprising for the outside world in its themes and treatment.

The film is particularly feminist in its perspective, focusing on and the role of women in Israel and in orthodox communities, their subservience to the men, the presumption of the men and their expectations of their wives. In this film, the young woman wants to study at a yeshiva, preferring this to an expected engagement. She goes to study with her rabbi father’s consent.

At the yeshiva, she is very comfortable in her studies, memorising texts, proposing amendments for interpretation of texts. She also meets a young woman, very different from herself, coming from a family in France. The young woman is able to soften the harsher attitudes of the very orthodox woman. This happens when they have the task of visiting a former prisoner and bringing her food. She has served 15 years in a prison in France and has been sent to Israel, ill and dying. The two girls become friendly with her, and this friendship having an effect, especially for the more strict girl. They suggest a number of rituals so that the prisoner can make a confession of her guilt, re-examine her life, prepare for death and her meeting with God. The woman is played with great dignity and presence by Fanny Ardant.

The other theme is the relationship between the two young women, especially for the stricter. She becomes very fond of the girl from France, becoming more affectionate, more relaxed, until one night they spend the night together. This has a profound effect with the young woman discovering her emotions and lesbian orientation. The other girl his not sure, accepts a proposal of marriage, which brings the tension and their relationship to a head as well as affecting some kind of reconciliation during the wedding ceremony.
The film raises serious themes in any context, but more so within this Israeli context.

1. The Israeli film industry? The work of the director? Treatment of this topic? For Israeli audiences? Outside Israel?

2. The religious themes, the stances and perspectives, the orthodox, extreme orthodox, ordinary religious Jewish people? Interpretation of Torah, Talmud? The range of rules and practices? The memorising texts, text analysis, amendments? Obeying the texts? Exceptions? The control of this religious mentality? The critique?

3. Naomi, her mother’s death, in mourning, her relationship with her father, the rabbi, the questions? Her engagement to Michael? The prospects for her future?

4. The role of men in this religious community, the work of the rabbi, the wife being submissive, not studying? Naomi and her hopes? Expectations of marriage with Michael? His expressing his views, very traditional? His expectations? The yeshiva and the rabbis? The rabbis as, literally, untouchable?

5. Naomi, getting the consent to go to the yeshiva? On the bus, the fat girl who came to the yeshiva? The singers and Naomi quoting regulations to them? Her arrival, her room, Singa and her joining them? The arrival of Michelle, from France, smoking, the cold air, the windows? The potential for clash? With the other two girls?

6. The lessons, the woman in charge? The young woman and her engagement and joy? The girls on the street, singing, running, going to the cemetery? The various jobs? The formality of the Yeshiva?

7. Their being asked to visit Anouk, Fanny Ardant in the role? The background her story, relationships, the quarrel, the death of her lover, her family reaction, in prison, 15 years, transported to Israel, the illness, her needing food, her loneliness, the portrait of a sad woman?

8. Naomi and Michelle, going to visit, Michel relaxed, Naomi changing, the bond, studying together? Bringing food to Anouk, talking, sharing? The two girls and their families? Michelle and the French? Naomi and her religious family?

9. The effect of the visit on Anouk, the changes in the two, a moody and her story, her wanting to repent, Naomi suggesting the various rituals, as a confession, the going to the bath, naked? The further rituals? Prayers?

10. Naomi, her amendments, rituals, the keeping of secrets, the participation, Anouk and her getting better?

11. Michelle away for the holiday, the return, Naomi and her return? The strength of the bond, sharing with each other, the night together, the aftermath, the effect on Michelle, her decision, Naomi and the deeper feelings, Michelle deciding to marry? Naomi hurt?

12. Anouk, imagining the visit of her son, her death, attending the funeral?

13. The young man in the shop, musician, friendly, the friendship with Michelle, asking her to marry him?

14. Naomi, breaking of the relationship with Michael? His severe reaction? Her father? Her future? Study, relationships?

15. The young man and his visit to Naomi, inviting her to the wedding, her hitting him?

16. , Visiting the school and the discussion with the teacher, her urging her to stand up for women’s rights?

17. At the wedding, the joy of the ceremony, the consent, Michelle seeing Naomi? Sad, ultimately her dancing? The bond between the two?

18. An Israeli film probing love, lesbian relationships, orthodox religion, and these themes within that context?

RED OBSESSION

Australia, 2013, 79 minutes, Colour.
Narrator: Russell Crowe.
Directed by David Roach and Warwick Ross.
When you see Russell Crowe’s name on the poster for Red Obsession, you might think that it is an advertisement for a thriller. Possibly set in China. Actually, there is something in that, but it is really a documentary. And, older audiences remembering the connotations of red, might then expect it to be a documentary about communist China. And there is something that too.


However, the Red referred to in the title is red wine, from Bordeaux.


Some audiences who have not developed their noses and palettes for the finer tastes and bouquet of red wine might be tempted to give this film a miss. They may not want to be embarrassed and shamed in not being able to join a conversation about the merits of the French red wines from the area. At the beginning of the film, this seems to be the case. But soon, non-experts can sit back in their seats, as this reviewer did, and respond to the broader treatment and study of the wine industry.


In fact, this film is really an economics lesson rather than a primer for an amateur who wants to go into the wine tasting or wine critics business. There is a key line early enough in the film which indicates that ‘the wine might be too valuable to drink’.


So what is the obsession? And who is obsessed?


Before reviewing the film and its aims, it must be pointed out that this documentary is beautifully photographed. Either you will be satisfied with seeing the wonderful vistas of the city of Bordeaux, the surrounding countryside, and the views of the vines in the fields or you will be making resolutions that you must soon visit this part of France. And we see not only the countryside, we see the enormous cellars, the vast number of vats, the technology that makes the wine and stores it.


But the themes themselves…
Russell Crowe, in a rather sonorous Gladiator-style voice and accent, gives us a brief history of wine growing in the Bordeaux region, beginning with the Roman legions and their planting of vines. The 2000 years of vine-cultivating and wine-making is a considerable achievement. In the 19th century, the French government classified the vineyards nominating honours for the chief chateaux. Then we are introduced to a number of the contemporary winemakers, their love for their work, their achievements, hopes for the future. We are also introduced to a number of wine-tastings as well as to critics who write for magazines on wines and serve as judges for competitions. The film really seems to be a glorification of the of the wine produced, the range of Bordeaux reds.


And then we are told that vintage years are few and far between. There was one in 2003, another in 2009 when this film was being made, a great year. And then, unexpectedly, there was a great one in 2010, even better than the year before. Without spoiling the suspense for the ending, it can be revealed that 2011 was certainly not in the same class as the previous two years.


Amid all the jollity, the wine-tasting, the enormous socials and parties to promote the wine, the scenes of options, catalogues, and more information that most of us can deal with, enter the Chinese.


The bulk of the film is about the Chinese response to Bordeaux, the Asian entrepreneurs who come into France and buy up companies, the over-rich who have sometimes dismantled a chateau, stone by stone, transported it to China or Japan and rebuild it. We are treated to glimpses of French chateaux in the Chinese countryside.


Two principal Chinese interests have emerged. The first is the desire to buy up wine as an investment, some buyers never even opening their boxes or tasting the wine. The Chinese are shown as being a strong presence at marketing socials as well as at auctions.


The other interest is in wine production, principally for China, and the Chinese gaining a reputation throughout the world, even winning some of the top prizes for wine in 2011.
We are warned, however, and we may not have thought of this, as with other luxury goods, fake Bordeaux has become something of an industry.

At the end, some of the French company owners, acknowledging their desire for profits, and seeing the enormous increases in price in 2009 to 2011, have to admit that they made mistakes, that the bubble, so to speak, had burst and the world had to adjust to more realistic prices for wines.


So by the end of the 80 minutes, we have learned a great deal whether we are wine experts or not. The information is offered in quite an intelligible and interesting way, giving background for wine lovers and broaden their horizons for those for whom wine is not a passion.

THE OTHER GUYS

US, 2010, 103 minutes, Colour.
Will Ferrell, Mark Wahlberg, Eva Mendes, Michael Keaton, Ray Stevenson, Samuel L.Jackson, Dwayne Johnson, Derek Jeter.
Directed by Adam Mc Kay.

I had a smile on my face most of the time watching The Other Guys, but it is all rather silly, maybe too silly for some.

The real guys make an initial appearance, Dwayne Johnson and Samuel L. Jackson, ace detectives for whom no feat is too difficult and who are police vanity personified. They depend on those who push pencils (or computer keys anyway) at desks, the other guys. Then they indulge in a derring-do stunt, leaping from a building – miscalculating, leaving two detective openings, a chance for the other guys to go out and confront the criminals.

This is a Will Ferrell film. Most of the time, I find him very funny, especially when he creates characters who are rather vain but become the butt of comedy (Ron Burgundy, Blades of Glory, Talladega Nights, Step Brothers). Sometimes he is not so funny at all and rather hard to take. His Allen Gamble here is, for me, one of his best. He is a buttoned up police accountant who loves his job and is meticulous, that is Meticulous with a capital M. He is paired in the office with Mark Wahlberg who has shot a star baseballer (Derek Jeter as himself) and is trigger happy at his desk. Michael Keaton is their boss. The others in the squad take every opportunity to mock.

You’ve guessed it. Out they go on a case and get into all kinds of scrapes (and get out of them as well) which gives the opportunity to both stage chases and shootouts as well as send them up. While you think Wahlberg is giving a one-note performance, he suddenly does some ballet pirouettes (though he had learnt them at school to mock the gay students). Then Allen Gimble is given a back-story so opposite to what he seems that you can’t believe it, but it has its funny moments. Wahlberg also discovers that Ferrell is married to a doctor – who turns out to be ultra-glamorous (Eva Mendes) but acts like a suburban housewife.

There are also lots of funny one-liners, especially in slinging off at the movies.

Steve Coogan appears as a dodgy financier pursued by Anne Heche and her former SAS assistant who tries to abduct him and keeps tangling with the ‘other guys’.

It is funny, immediately forgettable, but reminds us that when Will Ferrell is good, he can be very good.

1. An entertaining comedy, with a police action background? An enjoyable combination?

2. A star vehicle for Will Ferrell and his comic style, for Mark Wahlberg and his action style? Odd couple partners?

3. The New York City setting, police precincts, desk work, action in the streets? Business companies, and actions, threats? Stunt work? Musical score? The range of songs?

4. The opening, the star detectives, Dwayne Johnson and Samuel L. Jackson and their careers and reputations? The envy of the other police? Seeing them in action, yet the fatal jump and the ironic humour of their deaths?

5. The contrast with the Allen Gamble? His desk work, his being satisfied with it, absolutely meticulous? No ambitions for action? Will Ferrell and his comic style for this kind of obsessive? The audience surprised, along with Hoitz, that Gamble had such a glamorous wife? Her career, at home, domestic?

6. The contrast with Hoitz, his wanting action, his action-oriented mentality? The irony of his working together with Gamble? The visit to his house, his amazement at Gamble’s wife?

7. Their boss, his character, dealing with them, the comic touches?

8. The issue of the building violation, the fund manager, his being criminal, debt obligations, the finance company? The couple arresting him? The irony of his being abducted by false security agents?

9. Troublesome ex-girlfriends, Gamble’s girl and the phone evidence? Hoitz and his girlfriend?

10. The activities of the odd couple, the security team targeting them, the store blown up, the Broadway tickets, being taken to Las Vegas? The reaction of the chief, taking them off the case?

11. The death of the company’s lawyer, the couple and their trying to intervene, demoted, split up? The irony of Hoitz on traffic duty, Gamble and his own investigations, the police pension fund, the connection with Ershon?

12. The humour and action at the board meeting, the couple intruding, saving Ershon, gunfire? The chase?

13. In hiding, Gamble and his communication with his wife, its seeming like the end?

14. The build-up to the finale, the bank clerk and the money transfers, thugs and the attack, the duo doing their best, the arrival of reinforcements?

15. Will Ferrell and his success of this type of role, his size, his voice, his ability to mimic types? The contrast with Wahlberg and his going into action style?

THE MINUS MAN

US, 1999, 113 minutes, Colour.
Owen Wilson, Mercedes Ruehl, Brian Cox, Cheryl Crow, John Carroll Lynch.
Directed by Hampton Fincher.


The minus man is a little-seen and quite unusual drama about a serial killer. Owen Wilson made it at the beginning of his career, capitalizing on his genial screen personality and his capacity for comedy. However, in retrospect, it is something of a strange choice for Wilson to appear in this kind of film.
The film was directed and written by Hampton Fancher, a screenwriter with few credits but including blade runner and the mighty Quinn.
Wilson portrays a man who would past who would pass unnoticed in many communities. He seems genial, unobtrusive, easy to cooperate with th. Early in the film he encounters a woman at a bar, an interesting cameo by Sheryl crow, and hostile bar man, john Carroll Lynch. Man, the unusual name for wilson’s character, goes up as the woman and soon poisons her. We then see him settling in a Seaside Town, getting a room with th a couple whose daughter had gone to college, so they say, played by most CDs rule and Bryan cox. There are very good performances by both actors, especially cox in a role that he does not usually take. Then goes to work and the post office, kills and berries the local football hopeful, goes about his work and living as if nothing had happened-except that he has a voiceover throughout the film, describing what he’s doing, explaining something of his motivations, explaining himself to the audience.
There is a crisis when the wife of the house is killed and her husband arrested. Time for man to move on, which she does without any scruple and quite comely. He is truly are minus man. The

1. The tone of the title? Implications? Expectations? The description of van?
2. The story of a serial killer, mild man, escaping detection, using a special poison, the choosing of his victims, their willingness for death? Why?
3. Bands voiceover, taking the audience it was convents, explaining himself, what he’s doing, mystifying people, justifying his behaviour? The servers compare with the interior? Cold character with a smile? Seemingly genial and friendly? The contradictions in his character?
4. A piece of American, the opening, man driving, at the bar, the unpleasant bar man, the chat, with Laura, her drinking, going off with the van, her life, drugs, his killing her, leaving her in the toilet? Yet his care in straightening up the bean?
5. Driving, arriving at the turn, liking it, sleeping on the beach, the policewoman and urging him on, and her appearance of the end of the film, looking suspicious, but letting him go his way and she going another?
6. Go to the house, his pleasant manner, Jane and her hesitation, her change of heart, the taped with Doug, his friendliness, the room, doug’s visits, the outing to the football, drinking with Doug, the meals, the confiding in van, his bashing himself, his psychological state, is care about Jane? Her explanations of his condition?
7. The post office, Doug getting banned the job, the pleasant boss, the co-workers, his work, temporary higher, happy of the work? The encounters with Farren? Attracted towards her? The muted response? Her leading him on? The home meal? His approach to her and her violent reaction?
8. Faring, bright and breezy, her work, coming on to van, the chatter, the flirting, the drinking, the joking, the home meal, her reaction against van?
9. The meal at the restaurant, meeting the football crowd, the parents of the champion, the coach, the young man and his school for wall, his ambitions for college, than offering him a lift, killing him?
10. Burying the boy, his dream about the whole, his joining in the search for the missing boy, knowing that the people would not be there at the funeral had he not acted?
11. The device of the phantom cops, the personalities, conversations with van, from his inner subconscious, criticisms of him, threats?
12. James death, being bashed? The borrowing the truck? Duncan is being upset, the arrest, the interviews? Van being interviewed, the pleasant manner of the police? Alex final arrest? What in fact happened to Jane?
13. Van and the envelope address to phone? Wanting to be discovered or not?
14. Van, the film portrait, his knowing whom the court, speculating about him handle the situation, the clues, being careful? His motivation? Truly a minus man?

THE LAST CONFESSION OF ALEXANDER PEARCE

Australia, 2008, 59 minutes, Colour.
Adrian Dunbar, Ciaran Mc Menamin, Dan Wylie, Don Hany, Bob Franklin, Chris Haywood, Tony Llewellyn- Jones, Bob Young, Socratis Otto.
Directed by Michael James Rowland.

In fact, priests did not arrive as chaplains to the colonies for almost thirty years, in 1817, though some had passed through as convict priests. Fr John Joseph Therry arrived in New South Wales. Fr Philip Wilson was appointed to Hobart, Van Diemen’s Land. Fr Wilson has a central role in the brief historical drama, The Last Confession of Alexander Pearce.

Pearce was a convict who escaped from the penal colony of Sarah’s Island with seven other convicts and survived the rugged terrain by participating in the decision to kill successive men and eat them. He was the last survivor. Imprisoned again on the island, he escaped with another convict whom he killed and ate. The film shows the authorities in Hobart and the decision to hang Pearce. Wilson goes to the prison to hear Pearce’s confession. Though repelled by the crimes, he listens as Pearce recounts his story (and it is visualised) and is moved by the narrative and the hardships and the cruelty, especially with lashings of convicts. They are from the same village in Ireland and Pearce appears to find some peace in telling his story.

At a dinner scene with the lieutenant governor, Wilson is challenged for his stances and asked whether he will attend the dying man by a socially-polite but bigoted anti-Catholics – there had been an earlier reference to a pageant of Catholic convicts going to the gallows. Wilson, a priest of rather stern and direct disposition, delivers a speech about the Irish, the cruel English, the inhumanity of the convict system and its consequences. He does attend the hanging, gives Pearce communion before the hood is placed over his head, and continues to pray as Pearce hangs.

It is a picture of 18th century clergy and ministry in a harsh environment, not really shown in 20th century films. Pearce’s escapes and the cannibalism were portrayed in a longer feature film released at the same time, Van Diemen’s Land (2008, director Jonathan auf der Heide).

1. Audience knowledge of the history of Hobart and Van Dieman’s Land, of the convict settlements, of the treatment of convicts, of the role of the lieutenant governor?

2. A short running time of the film, effective?

3. The terrain of Tasmania? The mountains and isolation, the rivers? The islands? The settlements on the islands, the aboriginal encounter encampments? Hobart Town itself?

4. Audience knowledge of Alexander Pearce? His crimes, imprisonment, treatment, the lash? His two escapes? The cannibalism?

5. The device of his speaking with Father Wilson, recounting the events, a confession, but his no regrets in what happened?

6. The flashbacks of Pearce’s imprisonment? On Sarah Island, the other convicts, the brutality of the guards, the commander, the lash, other convicts giving the lash? The group going out, Greenhill and his leadership? The decision to escape? Those who did not? The group of eight? The boat, trekking through the mountains? Mountain after mountain? Not seeing aborigines? No game to hunt? The situation of the food? The decision to start killing? The men struggling to keep up? The brutality of the deaths, the continuing, the killing of Greenhill? Pearce and his killing the last man, surviving, the cannibalism? His coming to the settlement, the aborigines allowing him to eat? In the village, their not believing his story? His return to Hobart? The decision to send him to Sarah Island again? The second decision to escape, with only one companion? Killing him, eating him, even though he still had food in his pocket? His arrest, trial, condemnation to hanging?

7. For the Wilson, the first priest in Tasmania? Irish, from the same village as Pearce? Serious and somewhat severe in his manner? In his discussions with lieutenant governor? With the other officials, hearing the story about Pearce? His being invited to the meal, the anti-Catholic prejudice, the discussions of the table, Mrs. Brown asking about his ministering to Pearce? His serious answer, his speech about the English, the injustices, the treatment of the convicts, the lash, the issue of hunger and being ready to do anything to stave off the hunger?

8. The conversations between Father Wilson and Pearce? How sincere was the convict, his explanations, rational narrative, the issue of killing, the needs for survival, the impact of hunger? His lack of regret for what he had done?

9. The narration as a confession? His going to the gallows, Father Wilson accompanying him, giving him communion before the hood was placed on him, Father Wilson continuing his prayer? The hanging, death, shaking?

10. The reaction of the crowd, callous, sightseeing, buying apples, Knopwood chewing the apple and saying that that was that?

11. An insight into that period? And the convict situation, capital punishment, public attitudes, the role of religion, the attitudes towards Catholics?

I’M GLAD MY MOTHER IS ALIVE/ Je suis hereux que ma mere soit vivante

France, 2012,
Vincent Rottiers, Sophie Cattani, Cristine
Directed by Claude Miller, Nathan Miller.

I’m Glad my Mother is Alive is quite a strong story focusing on an adopted son. Vincent Rottiers is persuasive as the older Thomas, adopted when he was five along with his brother, his young mother unable to look after them, lacking a sense of responsibility, thinking only of her self, her relationships. There are flashbacks to this time with Gabin Lefebvre as the young Thomas. However, the film opens with Thomas of 12, also played effectively by Maxime Renard.
The film shows a troubled boy, feeling his sense of abandonment by his birth mother, depending on his adoptive parents but not relating well to them. While his adoptive mother is concerned, his father has collapsed, goes to an institution and gradually loses his memory.
When Thomas leavesschool, he works in a garage, goes to officials to find out the address of his birth mother and confronts her. He becomes very attached to his half brother who is living with his mother. He visits the home more and more often, bringing gifts, a still sensing his abandonment from his birth mother.
There is a highly dramatic moment when there is a sudden eruption and he stabs his mother, trying to kill her. He is in shock as is the audience. There is some resolution in the final court scene, with an apology from the mother, Thomas uttering the sentence which is the title of the film, with a camera finally going up close to him and his staring into the lens.
The film is the work of celebrated French Director Claude Miller, one of his last films, and a collaboration with his son, Nathan Miller.

1. A film about family, French style, universal message? Issues of adoption, for the adoptive children, for their adopting parents, for the birth parents?
2. The French setting, the city, homes, garages, holidays at the beech, municipal offices, convalescent homes? Musical score?
3. The title, the focus on Thomas, seeing him at age 12, in the car, the parents, brother, the holiday at the beach, his swimming out, his father pursuing him, upset? His asking what his mother looked like? His memories? His anger and his searching for his birth mother? Francois not interested in her? The picture of the exasperated adoptive parents?
4. The father at the choir, the phone call, Thomas and the fight, the children teasing him about adoption, the principal and reprimanding Thomas?
5. The flashbacks, Julia, the men in her life, sexual relationships, pregnant at 17, going out, leaving Thomas to look after Patrick, the boys playing together, Thomas and his care, her return, the officials taking children away?
6. The institution, the adoptive parents come to see them, meeting, charmed, their being adopted, it Thomas feeling abandoned by Julia? Patrick becoming Francois and not caring about the past?
7. Julia, her work, disappearing from children?
8. The adoptive mother, going to work, the father, his collapse, in the institution, losing his memory?
9. The years passing, Thomas going to work, Francois and his girlfriends, the mother at home, the father in an institution?
10. Thomas, his character, his needs, working the guards, going to the official, wanting information, the official giving the address, his going to the house, the reaction to Julia, not staying, writing her the hate letter?
11. Julia situation, as a cleaner, the irregular hours, her husband leaving her, wanting custody of her son, the charm of the half-brother? Thomas with Fred?
12. Thomas, his return, kissing Julia, their talking, Julia’s limits in handling situations? Chantal, the neighbour, looking after Fred? Thomas bringing gifts, cooking, playing, picking up Fred from school like a father, cooking meals, making demands of Fred, the encounter with Julia’s husband and the clash?
13. At home, pretending to have a girlfriend, talking to his mother, her questions? His anger at the situation, driving the car, outburst, fired?
14. Going to the beach, saying he had interviews, staying in Julia’s house? Going to the hospital, criticism of her? The flowers?
15. At home, the sudden eruption, stabbing Julia, the phone call and admitting his guilt, covering her body?
16. Julia and Anne meeting, the hostility between the two, talking, Anne teeling Julia the truth?
17. The court, Julia’s statement in court, asking Thomas’s forgiveness? The other members of the family in court?
18. The focus on Thomas, saying he was glad his mother was alive, his eyes straight to camera leaving the audience to their emotional responses and reflections?

FIRE WITH FIRE

US, 2012, 90 minutes, Colour.
Josh Duhamel, Bruce Willis, Rosario Dawson, Vincent’ D’ Onofrio, Vinnie Jones, Kevin Dunn, 50 Cent. Julian Mc Mahon, Richard Schiff.
Directed by David Barrett.

Fire with Fire is a typical action thriller with a vigilante plot. Josh Duhamel is a loner, a firefighter, who witnesses a brutal murder by a racist gang in Long Beach. He escapes, is wounded, gives information to the police, is put in witness protection in New Orleans. There he falls in love with the marshal in charge of him, played by Rosario Dawson. When she is threatened, he breaks free of the constraints and returns to Long Beach for vengeance.

Bruce Willis plays the detective in charge who has a personal interest in the criminal being brought to justice. Vincent D’ Onofrio gives a chilling performance as the racist gang leader and murderer. There is an interesting supporting cast including Richard Schiff as the defence lawyer, Kevin Dunn as the head of the New Orleans’ branch, and a fairly ridiculous performance from Vinnie Jones as one of the henchmen.
The film was directed by David Barrett, whose career was mainly in action and effects.

1. An American crime thriller? The reality of gangs? Aryan and racist gangs? Black gangs in Long Beach? Gang warfare?

2. The film as a vigilante violence and justice film? The inadequacy is law and the police? Personal motivation for vengeance?

3. The credibility of the plot, the characters, the gangs, the murders, the individual heroics? Where did audience sympathies lie?

4. The introduction to the fire, the firefighters, Jeremy and his friends, the heroism? The camaraderie back at the station? The firefighters providing family for individuals and loners?

5. The episode in the shop, the black owner and his son interested in sport, Jeremy and his friendship? The men entering, sinister, pulling the guns, the threat about ownership and takeovers, of paying money to gangs? Shooting the boy? The plea of the father, his being shot? Jeremy observing, the clash with the criminals, his escape, the pursuit? His being wounded?

6. The police, Mike Cella and his history with the Aryan gang, the death of his partner, unable to get evidence? Mike Cella and his associate? Her loyalty? Interviews, the line-up, journey identifying David Hagan, David Hagan’s threats?

7. Jeremy going into witness protection, his unwillingness, a transfer to New Orleans, the officials, Talia and her role as a Marshall, the sex play, the relationship? Going to the rifle range, her explaining how to shoot?

8. The photos, the shootings, Talia and her being wounded, taken to hospital, her survival, being taken into state? The effect on Jeremy, vengeance, being confronted with photos, his being transferred, all trace of him and emanated from official records? His decision to escape?

9. Back in Long Beach, negotiating for the guns, with the gang, offering to eliminate the rival? Suspicions, but accepting him? His contact with Adam, the secrecy, his fighting gear? Talia and later interviewing Adam, getting the information, going to his apartment?

10. Jeremy going into action, confronting the henchmen, the fights, deaths? David Hagan and his getting the information, then vengeance, the phone calls, the threats to Talia?

11. David Hagan, his character, ruthless, relentless, his ideology, racist, the swastikas, his hold over the men, his defiance of the police?

12. Mike Cella and his assistant, getting the information, the fingerprint and its identification, contact in New Orleans and his impatience, Talia, Jeremy and the deadline, otherwise his action was criminal?

13. Talia, her coming to California, the phone calls, tracking her, meeting with Mike Cella, with Adam, her intervention, her being taken by David Hagan, in the warehouse?

14. David Hagan’s lawyer, his presence at the interrogations, his clever moves in defence of David Hagan, bail? Jeremy tracking him down, the office, the interview with the water coming down, the lawyer’s explanation of threats to his family, giving the information to Jeremy?

15. Jeremy, going to the warehouse, setting up the fire, setting it alight, the explosions, the deaths of the criminals? The phone call from Talia, his coming to rescue her, the effect, the threats from David Hagan, Talia throwing the fireman’s axe, his death?

16. Jeremy and Talia and their life? Mike Cella and his taking down the pictures from the wall, the closing of the case?

17. How realistic was the film and action, credible? Over the top? Police work and inadequacy, remaining with him a letter of the will? The role of the individual, vigilante?