JESSE STONE: SEA CHANGE

US, 2007, 88 minutes, Colour.
Tom Selleck, Kathy Baker, Kohl Sudduth, Rebecca Pidgeon, Sean Young, Mika Boorem, Stephen Mc Hattie, William Sadler, James Gammon.
Directed by Robert Harmon.

Sea Change is the fourth in the Jesse Stone series, based on characters from Robert Parker’s novels. The initial film, Stone Cold, established Tom Selleck as a Los Angeles detective, separated from his wife, hard-drinking, finding himself as the police chief of the Massachusetts town, Paradise.

As in each film, there are several subplots. One focus in this film is the alleged rape of a teenage girl by a wealthy yachtsman. The other is the investigation of a fifteen-year-old murder case, a bank robbery. The two themes are wound together quite effectively.

Tom Selleck has made the role of Jesse Stone his own, laconic, direct, alcoholic, seeking the advice of a psychological, a former policeman with a drinking problem, played by William Devane. Kathy Baker is always effective as the assistant to the chief as is Kohl Sudduth continuing his role as Luther ‘Suitcase’ Simpson. Sean Young has a guest role in the rape subplot. Rebecca Pidgeon is at the centre of the murder investigation. William Sadler continues his presence as Gino Fish, a Boston gangster. Stephen Mc Hattie also continues his role as the Massachusetts police chief, Captain Healy.

The film has a great deal of atmosphere, especially of the town of Paradise, the coast.

1. The popularity of the series? The focus on Jesse Stone? His life and background? The police team? The investigations, the murder, the rape accusations? Stone and his methods, at home with his dog, drinking, connection with his ex-wife?

2. Paradise, the visuals, the coast? The musical score?

3. The police work, the role of the chief, Suitcase and his contribution, Rose and her interactions with Jesse? The processes? The importance of the town council, their critique of Stone? Threats to him? Their concern about tourism? Crime reputation?

4. The title, the rape story, Cathleen? Her relationship with her father? The yacht? Her character, her lies, the video, her giving consent, the owner of the yacht? The exploitation? Her wanting revenge? The discussions with Jesse? His confrontation with the owner? The presence of Sybil, the glamour, the wealth?

5. The cold case, the bank, the victim, the security guard and his memories, feelings of guilt, the interrogations? Jesse and the documents? His visit to Leeann? Her mother and her physical and mental state? Leeann and her story, in California, returning home to look after her mother? The attraction? The date and the discussion? Jesse and the investigations, finding that Leeann had lied? The truth? The role of Leeann, her sister at the bank, the setup, getting the money? Her sister being shot by the security guard? Changing her clothes, burying the body? The cover-up? The money spent on her mother? Her assuming her sister’s identity? The scenes at the cemetery, digging up the body, the investigation, the forensics?

6. Jesse, his attraction towards Leeann, the decision, going to the bank, going to Gino Fish?

7. Jesse and his wife, the continued phone calls, her friend? His not accepting the divorce? Drinking at night? The companionship of the dog?

8. Doctor Dix, his character, his background, helping Jesse? Their sessions together?

9. Jesse Stone, the complexity, his working at Paradise? The discussions with Captain Healy? With Gino Fish? Molly Crane, the past loyalties, her pregnancy?

10. The elements combining to offer a satisfying psychological drama as well as a police investigation thriller?

JUST THIS ONCE

US, 1952, 90 minutes, Black and white.
Janet Leigh, Peter Lawford, Lewis Stone, Marilyn Erskine, Richard Anderson.
Directed by Don Weis.

Just This Once is a pleasant example of a 1950s romantic comedy. It was directed by Don Weis, director of similar light films as Remains to be Seen, You For Me, I Love Melvin – as well as a long career in television. It was written by popular novelist Sidney Sheldon.

Peter Lawford portrays a millionaire who is careless with his money. Lewis Stone (memories of Judge Hardy) is a judge who administers the estate and is concerned. Janet Leigh is a single-minded lawyer with an eye to managing money. She is appointed as administrator.

Initially, of course, the couple clash, she trying to teach him to live a responsible life. He resisting. She has an earnest fiancé, played by Richard Anderson.

The film shows amusing situations with the battle of the sexes, Janet Leigh being very strong-minded (aged only twenty-five at the time) in her lawyer role. Peter Lawford is at ease in this kind of romantic comedy – making You For Me the same year, with Don Weis.

The film has a very quick happy ending with a humorous joke at the end.

1. A pleasant romantic comedy? Early 1950s style?

2. New York settings, black and white photography, musical score, the light touch?

3. The introduction to Mark, the miming with his girlfriend at her apartment door? His going home? His financial situation? Inherited money? The lavish mansion and the artworks? Judge Coulter and his earnestness? Mark and his lack of responsibility?

4. The judge, in court, concerned about Mark’s affairs? Lucy and her pleading for the man owed thirty-five dollars? Single-minded? The judge and his reaction, offering the job of administering Mark’s estate? The dinner, his flirting, his accepting her in the position?

5. Lucy at the office, Gertrude at the phone? The other workers and their support and friendship? Her cancelling all the accounts? Recovering the furs? Mark and his reaction, going to lunch, Lucy taking him to the automat for a fifty-cent lunch, his bribing the waiter?

6. Mark, his reactions, courting Lucy, antagonism towards her? Going abroad in his plane, the phone call in Honolulu, his return? Lucy and her continuing to work, control him, give an allowance? The discussions with Judge Coulter?

7. Tom, earnest, his job, meeting Mark after he moved into Lucy’s apartment because she was responsible for him? The offer of the high raise, Lucy’s objections, Tom turning it down? Mark and his bewilderment?

8. Lucy’s change of tactics, wanting to charm Mark so that he would leave her? The outing with Tom, the zoo, Mark’s promise of the Mediterranean yacht for the honeymoon? The return home? The incident in the elevator and Tom being upset, Mark moving out?

9. Tom, his job, his boring talk? Mark and his change of heart, allegedly getting a job, reading the science book and feeding it back to Lucy? Her initial believing? The judge revealing they were playing golf? The final confrontation? Lucy telling Mark off? Tom backing away?

10. The finale, Mark getting a job in the navy – managing the navy’s financial affairs? A humorous jokey ending for this kind of romantic comedy?

KATH AND KIMDERELLA

Australia, 2012, 85 minutes, Colour.
Jane Turner, Gina Riley, Magda Szubanski, Glenn Robbins, Peter Rowsthorn, Rob Sitch, Richard E. Grant, Barry Humphries, Jessica De Gouw, Erin Mullally, Marg Downey.
Directed by Ted Emery.

‘Kath and Kim’ (first screened on TV ten years ago) is an acquired taste. Australian audiences by and large embraced this mother and daughter whose suburban lives, attitudes and prejudices, parody so many of us, accent, vocabulary, fashions (and non-fashions) and all. A tribute to creators and performers, Jane Riley and Gina Riley (who made their TV marks two decades ago with the hilarious series, Fast Forward and Full Frontal). And, of course, there is Magda Szubanski as large, sporty and frustrated in romance, Sharon, victim number one of Kim’s barbs (though poor hen-pecked husband, Brett, gets it all the time as well).

This feature film answers one question I have had for a while: is Kim in her extraordinary self-centredness (and, as Age reviewer, Philippa Hawker, noted, her ‘iron whim’) the successor to Edna Everage? Then, suddenly, towards the end of the film, I could scarcely believe it, Kath does a magic trick with her wand (after all she had done a TAFE Wica course) and who should Kim turn into but Dame Edna? So, there you are!

The advantage of the 30 minute episode is that the makers can give quick vignettes of the main characters, Kath and Kim, with respective husbands, Glenn Robbins as the genial Kel, so positive in outlook as is Kath, and Peter Rowsthorne as the browbeaten, Brett. There could be guests like Shane Warne or Eric Bana or even Kylie Minogue doing a variation on Kim as the grown-up version of daughter, Ebony. There can be a plot, but that is not the point. Satire, spoof and comedy are the point.

Well, the feature film has a plot. It is, of course, preposterous – it would be strange if it weren’t. It is a fairy tale (much more by the end than we might have thought). After some Fountain Lakes sequences (with the strangulated pronunciation of shop attendants, Prue and Trude, who also turn up in Italy, reminding us of the versatility of Jane Turner and Gina Riley), the film moves to a small kingdom (Spanish-oriented) on the beautiful Amalfi coast, where the bankrupt king (a pleasure to see Rob Sitch) is on the lookout for a rich wife. He assumes Kath fills the bill. In the meantime, the crown prince who wears a Phantom of the Opera mask, sees ‘Princess’ on Kim’s t-shirt and makes the worst assumptions. Oh, Sharon has tagged along and has set her cap for the majordomo, a superciliously entertaining performance from Richard E. Grant.

Variations on a lot of ingredients from old stories (especially Jane Eyre) and from European royal intrigue movies.

It’s not as hilarious as hoped for. I wish Kim had been sharper and more viciously outspoken than she is. There is a bonus with Marg Downey reprising her smooth, emotionless and unctuous voice as Marion, the counselor.

But it is better to have a Kath and Kim movie than not having it.

1. The popularity of Kath and Kim? The television series? Their becoming Australian icons? To a feature film?

2. The spoof on Australia, satire, parody? The look, the accent, vocabulary, pretensions of the middle classes, preoccupations, family, jobs, fashion, trends, health, exercise, money? Kath and her goodness? Kim and her self-absorption?

3. Kim, nasty, her whims, selfish, the irony of the appearance of Dame Edna instead of Kim?

4. The audience, response to the characters, the introduction and explanations, Fountain Lakes, suburban life, Poole? Kath and her marriage, pregnancy, the birth of Kim, growing up, her marrying Kel, his being a purveyor of fine meats, Brett and his marriage to Kim, his being browbeaten, Epponnee-Rae? and her growing up – and being a clone of her mother? Life at Fountain Lakes? The mall and the shops? The presentation of Prue and Trude and the other pretensions?

5. The plot, establishing it as a fairy tale – and the fairytale ending?

6. Melbourne, ordinary, the contrast with Italy, the Amalfi Coast, the town, the castle?

7. The range of songs as background, popular music, lyrics?

8. In Melbourne, Kath and her going to the chemist, winning the trip, Kel and his feeling down, Kim and her wanting to go, Sharon and her tagging along? The men going to ltaly later?

9. The travel jokes, the airport, the weariness, walking the town, the people hostile, the hotel closed, going to the palace?

10. Prue and Trude, their style, accent, snobbery, at the shop, going on holidays, in Italy, the hotel, going to the wedding? Giving Brett a lift?

11. The kingdom, the Spanish background, Javier and Rob Sitch, his appearance, his son and the mask, the expectations and the bankruptcy? Alain and his job as major-domo? Isabella as the maid? The setting up of the characters – and the familiarity of themes from old-fashioned royalty stories from Europe?

12. Kath, her character, seeing goodness everywhere, her fashion-consciousness, her malapropisms? Her being welcomed, the discussion with the king about money, his hopes, the son seeing ‘princess’ on Kim’s T-shirt?

13. Isabella, her character, her work, hostility to Kim, the murder attempts? The revelation of the truth? As a princess? Marrying Juleo?

14. The people of the kingdom, the tour, the hostility towards the king, throwing tomatoes, people taken to prison, the club, the dancing, the gay couple, their arrest? Alain and his sending people to prison – but looking after them? Kath and her freeing all the prisoners?

15. The prince, Kim, taking off his mask, being perfectly normal? His proposal, the preparation for the marriage?

16. Sharon, her character, size, forlorn, sport, setting her cap at Alain, her pursuing him – and his being gay?

17. Kim, going to the dance, the costumes, Sharon and her cowardly lion?

18. Kel, the therapy with Marion, the hypnotism, her approach to him? Brett, with Epponnee, Kim’s orders? Brett watching the football with Kel, seeing the news, the decision to travel to Italy, the hypnotism, Kel naked in the plane, landing?

19. Kel, arriving at the palace, the confrontation with Javier, the swordfight, his butcher’s knives?

20. Kath, the episode with Edna Everage – and her wicker TAFE course – and the jokes about all the TAFE diplomas that she had?

21. The wedding preparations, the dress, Isabella, Sharon and Kim in the hole, the claustrophobia?

22. Brett, Prue and Trude, the lift, interrupting the wedding – and the prince’s dismay at hearing about Epponnee, the marriage, the divorce?

23. The range of explanations, Poole as the rightful king, marrying Kath, therefore Kath as the queen? The impotence of the king? The role of Alain, looking after Isabella?

24. Kath, rule, the marriage of the two clergy, the kingdom, the happy release, everybody happy ever after?

25. The impact for an Australian audience, parody and laughs? For non-Australian audiences?

KILL BILL VOL 1

US, 2003, 111 minutes, Colour.
Uma Thurman, Lucy Liu, Vivica A. Fox, Daryl Hannah, David Carradine, Michael Madsen, Julie Dreyfus, Chiaki Kuriyama, Sonny Chiba, Michael Parks.
Directed by Quentin Tarantino.

Billed as the fourth film by Quentin Tarantino (not exactly accurate as he directed a quarter of the portmanteau film, Four Rooms), it is definitely a Tarantino movie.

Odds are that most over-50s in the audience will focus on the amount and extent of the violence with an estimate of the considerable body count - the martial arts choreography will be seen as enhancing a reprehensible display of visual mayhem and death. Odds are than many of the under-50s who watch the film will be enthralled by its visual flair, the staging of the fights, the composition of scenes, the extraordinary editing and the amazing fights and effects. They will be more inclined to laugh at the comic-book displays of violence and death (as they did with the car shooting scene in Pulp Fiction and the subsequent cleaning of the vehicle). They will see this as so far-fetched that it is entertaining fantasy and that anyone who looks at it 'realistically' is missing the point. While it does have a lot of Tarantino's trademark offbeat, cleverly inconsequential discussions about the mundane realities of life as well as his ironic offhand one-liners, this aspect is not as strong as in Reservoir Dogs, Pulp Fiction and Jackie Brown.

And once again, not only does Tarantino play with time (giving us two volumes with a tantalisingly unexpected piece of information at the end of volume one to have us queuing up for more), his revenge story shifts all over the place as Uma Thurman tracks down her attackers. For those who are not going to see it, in Volume 1she does not kill Bill.

It is always uncomfortable sitting on the fence, which is where I was, amazed at the visual impact of the film, dismayed at the carnage, comic-book though it may be.

1. The impact of the film? Its sequel? In the career of Quentin Tarantino? His interests, style, homage to movies? His love of words, ironic comments, one-liners? Discussions in the middle of action? The status of Kill Bill?

2. The production values, the American sequences, the elaborate wedding, homes, the confrontations? Japan and Okinawa? Tokyo? The importance of the animated sequence – visuals, Japanese style? The musical score?

3. The introduction, the bride in coma, the wedding, the background of Cottonmouth and the animation story of her childhood? The editing? Stunts?

4. The presentation of violence? Brutal or not? Over the top? Real/unreal? Cartoon – graphic novel? Its impact?

5. The influences of Asian cinema, Hong Kong, martial arts cinema? The range of sequences presented – especially the House of Blue Leaves?

6. The structure of the film, the successive chapters?

7. The wedding, elaborate, the slaughter and its visuals?

8. The bride, her character, part of the team of the assassination group? Her pregnancy? Her deciding to pull out? In a coma for four years? The child gone? Her anger, the revenge drive, her goals? To kill Bill and his group? An avenging angel?

9. Bill, the five assassins, her targets? The bride herself as a killer? Her skills?

10. The visit to Hattori Hanzo, the mentor, training, the mission? His help? His assistant?

11. The different confrontations: Cottonmouth, audience knowing her background, deadly, her character? Sofie as her assistant? Sofie at the wedding? The fight with Cottonmouth? Elaborate? Sofie’s torture and death?

12. Gogo Yubari, as a child, appearances and reality, deadly?

13. Elle Driver, strong, hard? The fights with the bride – and the irony that she would appear in the sequel?

14. Vernita Green, her character, her skills? The confrontation with the bride? The fight, her daughter’s return home, the pause?

15. The nature of the fights, the nature of death? The House of Blue Leaves and the choreography? The overwhelming numbers?

16. The experience of the bride, her motivation, Bill never seen? The fights, the brutality, graphic novel – and the Grindhouse sensibility? The pause at the end of the film – and the continuing quest for Bill?

THE KING IS DEAD

Australia, 2012, 105 minutes, Colour.
Dan Wylie, Bojana Novakovic, Gary Waddell, Luke Ford, Anthony Hayes.
Directed by Rolf de Heer.

Neighbours have been a significant part of Australian movie and television consciousness, and not just at Ramsay St for so many decades. Neighbours, both cheerful and annoying, have popped up regularly, part of the Australian suburban landscape.

Rolf de Heer, celebrated writer and director for several decades now (Bad Boy Bubby, The Quiet Room, Tracker, Ten Canoes), must have experienced some traumatic neighbours – or has been able to imagine what might happen if you had very loud and violent neighbours. Here they are.

It all opens nice and quietly during the opening credits, the camera tracking along the street in a leafy Adelaide suburb picking out the details of the houses from numbers 35 to 41. One house is now for sale. The agent shows various groups in and out. Next door a chef is cooking plenty of garlic and wafting it over the fence. He wants only garlic-favouring newcomers. And he gets them, Max , a science teacher, and Therese, a tax accountant. They move in, make friends, allow the little girl next door to come in when she wishes. All very nice.

But, on the other side. A yob turns up, radio blaring with a four-letter (and more) rap song which he mimes and tries to memorise. But, he doesn’t live there. It is King who lives next door. He seems ultra-high most of the time and handles drug deals with his friends whom Max and Therese nickname Shrek and Escobar. Therese – at first - thinks they seem ‘interesting’ and can’t believe she is witnessing drug deals. In the meantime, the couple is doing up the house and working hard in the garden.

But… at night. Yells, screams and shouts, loud music, fights. And the police cant’ do anything, 95% of crimes are not solved…, regrets…

So far, so familiar for all of us (with varying degrees of identification with Therese and Max).

It is what happens then that turns the comedy blacker and more serious. Max and Therese think up all kinds of schemes to get the police to intervene, starting with graffiti on the fence proclaiming scum dealers live there. They don’t work.

The last part of the film is dark farce when the couple’s foolproof scheme goes so wrong in the middle of the night. It is a dastardly time for poor old King - whom we have come to like in an odd kind of way. Gary Waddell gives a wonderfully deadpan performance as King, sometimes to laugh at, sometimes to laugh with.

Audiences who have been enjoying the ordinariness and the satire so far may baulk at the torrent of language when a drug gang of Maori migrants turn up and throw their weight around. There are a couple of bashings as well. Of course, it is far-fetched…, isn’t it?

When all returns to calm and the only thing is for Max and Therese to move – they have tried the other suggestion made by police and crims alike to minimal avail: use ear-plugs. The film ends with a pleasantly neat joke.

1. The work of Rolf de Heer? Over the decades? Realism, exotic, black comedy? The suburbs?

2. The blend of the serious, the comic, the satiric?

3. South Australian settings, the Adelaide, streets, houses? Interiors and exteriors? The action limited to the street?

4. The jazz score, its mood, contribution to the atmosphere? The rap song and its profanities, the repetition?

5. The credits, the tracking along the street, the variety of homes, the agent, the sightseers, the chef cooking the garlic, wafting it over the fence, the six-minute walk to transport? Max and Therese buying the house?

6. Max and Therese, their age, his being a science teacher, she a tax agent? Character, interactions, working in the garden, the house, happy together?

7. The neighbours, the chef and his wife, their little daughter, talking, the welcome, the little girl’s visits, making the gate in the fence, the rules for her protection? Her being terrorised by the visitor to King’s house? The rescue?

8. King, his appearance, odd? Shrek and Escobar? Their appearance, the drug deals? The rap music, Shrek and his trying to memories the words and sing? Therese thinking the neighbours interesting? Seeing the drug deals? The nights, the clock, the shouts, the screams? The tough visitors? The tough man and his girlfriend and her denying his brutality? Threats?

9. The arguments about calling the police? The chef calling the police? The suggestions about earplugs? Therese and Max and their being robbed, the reaction of the police? The later cleaning out of the house, the credit cards, the mobile phones, taking the car – and King saying he would find it? The discovery of the car, the lies about who took it to avoid charges? The credit card loss and the pressure on Max and Therese?

10. The desperate plans, getting the paint, for the graffiti on the fence, the night attempt, the old paint not working?

11. The plans, rejection of them? The growing desperation? The noise?

12. King’s house, taking away all the trees and bushes, the grass gone? King, borrowing the ten dollars from Max? His sister, the coma, his being in the house, his deals?

13. The final plan, Max going in, dropping his mobile phone, the empty house, the scares? King’s arrival back, his collapse, no pulse? The decision to put him in the roof, getting the ladder?

14. Their being caught, Shrek, the threats to Max? Max and his pretending to be tough – as King ignored Therese in the past? The violence?

15. The arrival of the Maoris, Max and his telling lies, Shrek and his friend being bashed, the injuries to the friend’s face? Max pretending to be a dealer? Then liable for King’s debt? Thirty thousand dollars, the question of interest, the science question and the answers, corroboration by the silent Maori, the maths and the percentages?

16. King reviving, the money in the roof, his recovering it?

17. The happy ending – but the decision to move, the agent, selling the house, the visitors?

18. The irony of King, selling his house, his sister dying and leaving it to him? Therese and her idea of buying the house and renovating?

19. An entertaining film about suburban paranoia?

LIBERTY HEIGHTS

US, 1999, 127 minutes, Colour.
Adrien Brody, Ben Foster, Orlando Jones, Bebe Neuwirth, Joe Mantegna, Rebekah Johson, David Krumholtz, Richard Kline, Justin Chambers, Anthony Anderson.
Directed by Barry Levinson.

Liberty Heights is an appealing film, nostalgia for the 1950s, the time of Barry Levinson growing up in Baltimore (and the setting for his further autobiographical films Diner, Tin Men, Avalon). The film features sympathetic roles for Adrien Brody and Ben Foster before they became very well known and Brody won the Oscar for The Piano Player. Ben Foster is at the centre of the film, the action being seen through his eyes. He was later to develop into a reliable and quite repellent villain in such films as 3:10 to Yuma and The Mechanic. Joe Mantegna is very sympathetic as Nate, the patriarch of the family, involved in numbers games as well as burlesque theatres. Bebe Neuwirth is his wife. Orlando Jones is rather odd as Little Melvin, the manager of clubs wanting to get in on the numbers game.

The film is very interesting in reflecting on racism and prejudice during the 1950s, Jews, dogs and coloureds being notified that they were not eligible to enter the swimming pool. Jews in Baltimore thought that they were the only people, discovering that the rest of the world was ninety-nine percent non-Jewish. There is also some prejudice in both the white and the African American communities about mixing with each other.

Things were to change considerably during the 1960s – and this is a valuable opportunity to go back to look at images of the 1950s.

1. The appeal of the film, memory, nostalgia, the United States, the 1950s – and later change?

2. Barry Levinson, his Baltimore background, his autobiographical films? The autobiographical perspective of this film?

3. The visuals of Baltimore, the city, Liberty Heights, the Jewish section, the Jewish world, homes, schools, the Gaiety burlesque club, the downtown clubs, the theatres for black performers, the streets? The musical score – and James Brown’s song?

4. The period, costumes and decor, a lot of the film-making in 50s film-making style?

5. Ben’s voice-over, the Jewish perspective on the world, on Baltimore, exclusive and not aware of the rest of the world, ‘the other kind’? The ethos, at home, the grandmother, the synagogue and worship, hymns at school, the 23rd Psalm, the background for prejudice?

6. The family, Mother and her niceness, yet her prejudice against African Americans, supportive of her husband, loving her children? The scenes with Nate? Nate, his office, the numbers game, his assistants, the illegality, the burlesque theatre, its failure? The IRS and investigations? His relationship with his sons? Van, his age, going out, Dubbie, his being smitten by her, his going out with his friends, daring to go out as Jews, the fights? Ben, his age, at school, a good young man, his friends and their talk, the boys and their interest in sex, crude language? Noticing Sylvia after integration? Her praying the psalm? His wanting to be with her?

7. Issues of racisms, the notice about Jews, dogs and coloureds at the pool? The humour at the ending with the three young men and JEW on their chests, sitting on deckchairs at the pool? Van and the gatecrashing of parties? The fights against Jews? The WASP types? The African Americans, the wealthy doctor, his being anti-white? The range of prejudices? The importance of people getting to know each other, respecting each other, change? Ben and Sylvia, their talk, listening to the music, opening up different horizons for Ben? The James Brown concert? Van, his testimony in the court, friendship with Trey? Trey inviting him to the party, meeting Dubbie? The issues of law and Trey’s father helping Van’s father? Sylvia and her parents?

8. The Jewish atmosphere, social life, cultural life, not particularly religious? The recitation of Psalm 23 and Sylvia’s testing Ben about his understanding of its religious dimensions? The grandmother and her Jewish stances? The irony of Ben getting dressed as Hitler for the Halloween party? The various reactions, his father forbidding him to go out?

9. Seeing things through Ben’s eyes, his age, his place in the family? His questions, his friends, study? Psalm 23 and Sylvia? Going on the bus, talking to her, wanting to walk with her, her stopping him going to the house, coming back with the car, his being on the floor, her dress and legs? The playing of the music? His visit to her home, the sexual embarrassment, the bathroom, Sylvia hiding him in the closet? The meeting with her father? His driving Ben home, Ben wanting to stay and listen to Young at Heart and Frank Sinatra? Going to the James Brown concert, his being abducted by Little Melvin, his being a gentleman concerning Sylvia, her appreciation and kiss? The graduation, his family, the photos, his meeting with Sylvia and kissing her, people’s reactions? His future?

10. Van, his age, going to the party, seeing Dubbie, helping out Yussel in the fight, the search for Dubbie around the town with his friends? The issue of court, witness, discussions about saying no to ‘So help me God’? Van doing this, the uproar in court, the judge, his not being held in contempt? Trey and his appreciation? The phone number, the invitation to the party, Yussel and his dyeing his hair, meeting the girls? Trey and his surprise at Dubbie being at the party? The horse, her forgetting who Van was, yet meeting him, the bond, talking?

11. Trey, wealthy, the car crash, his friends, anti-Semitic? His relationship with Dubbie? Thinking Dubbie was in Paris, his inviting Van? His regrets? The break with Dubbie? His further crash, going to the hospital?

12. Dubbie, blonde, wealthy, her declaration about her unhappiness, going to visit Trey in the hospital, taking Van, going to the motel, her advances, her being sick, Van and his realisation of the truth?

13. Nate, his having to change, the burlesque and its failure, the range of girls, the scenes of performance, intercut with the rest of the story, the men in the audience (men only), stripper Annie and her missing costume, her performance, the reaction of the men?

14. The disaster in the numbers game, Little Melvin and his winning a hundred thousand dollars, his demands? Nate, the emergency, his spiel about letting Little Melvin into the numbers game, Melvin’s hesitation, acceptance? The plan, Melvin’s failure, Nate approaching with a further deal, eighty percent? Melvin as a character, Scribbles and his being always present with Melvin? Melvin’s self-importance, the issue of Nate’s car, allowing him to have it back, seeing it in the street, searching in the James Brown concert, realising who Ben was? The abduction of Ben, Sylvia and their friends? Holding the gun to Ben? Ben being a gentleman? Nate and his giving up all his financial interests to rescue Ben?

15. The arrests, Little Melvin and his talking? Nate, the FBI pursuit, the charges, gambling and prostitution, crossing state lines? Van and his getting Trey to help with Nate’s arrest? In the synagogue, the family together, his leaving the synagogue with dignity?

16. The graduation, Sylvia and her future, the college, her parents? Ben, the photos, his mother’s prejudice, the kiss?

17. The Jewish atmosphere of the film, language, customs, culture, the grandmother and memories?

18. The 1950s – and integration, the African Americans, the wealthy African Americans? The contrast with the world of Little Melvin?

Change, the consequences – and nostalgia for the period, despite its

MABO

Australia, 2012, 105 minutes, Colour.
Jimi Bani, Deborah Mailman, Ewen Leslie, Tom Budge, Charles Passi, Rob Carlton, Colin Friels, Miranda Otto, Felix Williamson, Matthew Whittet, Leon Ford.
Directed by Rachel Perkins.

Mabo was written by Sue Smith, prolific television writer (Brides of Christ, Leaving of Liverpool, My Brother Jack, Bastard Boys).

The film was directed by Rachel Perkins, daughter of Charles Perkins, director of such films as Radiance and Bran Nue Dae.

The film is a portrait of Eddie Koiki Mabo, the Murray Islander from the Torres Strait who spearheaded the High Court challenge to the terra nullius doctrine of ownership of land in Australia.

The film opens in 1956, highlighting the young Eddie Mabo, his having to leave Murray Island, his working on the railway lines in western Queensland. His interest in the unions, his joining them, his activities – and, at the time, accusations of being a communist. It also shows his marriage to Bonita, his wife of many decades. The film shows the relationship between the two, the difficulties for Bonita, his being absent with his political activities, a final tension which sparks a moment of violence, yet the dedication that Bonita had to her husband and his causes.

The film shows Eddie Mabo and his life in Townsville, the different jobs, the union work, the establishment of a school for Aborigines and other social concerns as well as protests.

The film also shows clips from Joe Bjelke-Petersen?, Bob Katter and news excerpts – the lengths to which the Queensland government went to prevent Native Title law. The film also shows the Queensland Supreme Court as well as the High Court of Australia. Colin Friels and Miranda Otto contribute to personalities within the Queensland court.

Jimi Bani is very good as Eddie Mabo, tracing a thirty-five-year span of his life, from energetic young man, to his adult campaigns, to his final illness and death, months before the High Court decision in his favour. Deborah Mailman is very good as his wife.

The film is interesting in showing some of the actual legal characters, especially Bryan Keon-Cohen? (Ewen Leslie), Greg McIntyre? who represented Eddie Mabo in the High Court (Tom Budge) and Melbourne lawyer and civil rights activist, Ron Castan (Felix Williamson). Historian Henry Reynolds (Leon Ford) also contributed to Eddie Mabo’s opportunities for moving to court challenges.

Another feature of the film is the dramatisation of prejudice against Aborigines, Eddie Mabo not being allowed in a hotel, the family taking a child to a doctor and the hotel’s saying they were all full and refusing entry to the family. Rob Carlton plays Paddy Killoran, a supervisor in the Torres Strait in the 50s, later Minister for Aboriginal Affairs in the Bjelke-Petersen? government who tried to influence witnesses as well as confronting Eddie Mabo.

This may not be the complete story – but it is effectively presented in an under two-hour television film. It was screened on the twentieth anniversary of the Mabo decision.

1. Audience knowledge of Eddie Mabo, the process for the legal challenges, the decisions?

2. Australian opinion, changing attitudes towards Aborigines, the 1967 referendum for the vote, the doctrine of terra nullius, Aborigines and property ownership?

3. The effect of the decision? Queensland, the attitudes of the Bjelke-Petersen? government, Paddy Killorian? Parliament and its midnight activities to prevent Native Title? The deals with witnesses? The courts, the personnel? The lawyers – civil rights, careers?

4. The locations, the Torres Strait islands, Murray Island, the visuals (and the sketches and paintings throughout)? The dust of western Queensland and the rail lines? Ingham and the coast? Townsville? The work, on the railways, at sea, in the gardens of the university? The courts in Brisbane, Canberra?

5. The portrait of Eddie Mabo, Jimi Bani’s performance? The boy with his father? The later issues about Eddie’s true parentage, adoption? Ownership rights? Leadership? Fishing? Eddie and his age, flirting, the choir? The accusations of improper behaviour? The discussions with Paddy Killoran about work, Eddie not wanting to be a slave, leaving the island? Working on the railways, the heat? The meetings, his friend, the unions, the union officials and ideas, his activities? The recruiting of Torres Strait Islanders – and the newsreel footage of them working on the railways?

6. Eddie and Bonita, in Ingham, the hall for the wedding, Eddie talking to Bonita, her name? Dropping the bottle of rum? Promising that he didn't drink? The letters of apology, her replies? Their meeting? Bonita as a strong character, a good woman? The courtship, the marriage, joy, the children? Their life in Townsville? The episode of the child drinking the kerosene, the doctor, the hotel’s refusing them entry? Eddie and his being refused a beer – and his placard in the hotel that he would not leave until served?

7. The refusal of the authorities to let Eddie see his father when he was dying? His later meeting with the council on Murray Island and their rejecting his stances? The contact with the lawyers? Eddie and the protests? Bonita and her wariness, the children? Yet her supporting her husband, the newsreels of the processions and protests? The achievement, school...?

8. Eddie in the library, Noel Loos seeing him, taking him to Henry Reynolds? The talk about anthropology, the long history of the Torres Strait Islands? Politics? Ownership? The legal reactions? Joh Bjelke-Petersen? and parliament?

9. Eddie, his disappointments, becoming more self-assertive? With Bryan Keon-Cohen? The phone calls to Ron Castan? Greg McIntyre? The decisions to go to court, the consequences?

10. The hearings on Murray Island? The Chief Justice Moynihan? Margaret White? The testimony, the hearing on the island? The move to Brisbane? The interrogations? Killoran and his pressure for friends to withdraw from the claims? Killoran’s talk with Eddie?

11. Eddie and his claims, his entitlement? The Queensland legislation? His options? The court decision against him? The possibility of appeal? The possibility of going to the High Court? The High Court giving an in principle agreement to the proceeding of the case? The decision to go to Canberra?

12. The High Court, Dave joining in as a litigant again? Greg McIntyre? representing Eddie? The role of Bryan Keon-Cohen? Ron Castan? Their speeches, their interrogations in the various court hearings?

13. Eddie, at home, the tension, his anger, hitting Bonita, her leaving? His apology, the fishing, the food, the reconciliation? The children?

14. His illness, pain, his refusal to go to the doctors, going to the hospital, Bonita asking him to consult the doctors?

15. The walk along the beach, his stopping, his writing the letter – and the tribute to his wife?

16. The High Court hearing, the judges, the meetings, their studying the issues, the announcement of the decision, six to one? The joy at the result? The phone calls to Bonita, to the Murray Island? But Eddie dead five months earlier?

17. The reaction to the decision in 1992, the various politicians, Paul Keating and his Redfern speech? Eddie Mabo and his background, ordinary, working, the unions, studying, his personality, legal knowledge? The consequences of the decision – and the growing support? The significance of the film as a celebration of the twentieth anniversary of the decision?

THE MAN WHO PLAYED GOD

US, 1932, 80 minutes, Black & white.
George Arliss, Violet Heming, Bette Davis, Louise Closser Hale, Donald Cook, Ivan F. Simpson, Hedda Hopper, Ray Milland.
Directed by John G. Adolfi.

The Man Who Played God was originally a silent film with George Arliss. Working with John C. Adolfi, a director with whom he worked frequently, George Arliss now stars in a sound version. Arliss had won the Oscar for Disraeli in 1929 and was to portray many historical characters including Alexander Hamilton, the Duke of Wellington, Voltaire. This was also an early role for Bette Davis – without her mannerisms that she developed during the 1930s. She was to win the Oscar for Dangerous three years later. Ivan F. Simpson gives an interesting performance as Battle, Arliss’s butler. Hedda Hopper, the gossip journalist, appears as a society hostess. Ray Milland, unbilled, appears as a young man in the park.

The film focuses on an ageing musician and his greatest fan, played by
Bette Davis. They plan to marry. He plays the piano in Paris for a European king and is rendered deaf by an explosion, an attempt on the life of the king. He becomes bitter, will not see anyone. However, he is trained to lip-read and with binoculars listens to people and their problems in the park, becoming like the
God he was denying, sending out his butler to help people with money and advice.

It is interesting to see George Arliss and his visual style, a British stage actor, who came late to the screen.

The film was remade in 1955 as Sincerely Yours, with Liberace as the musician.

1. The impact of the film in the 1930s? George Arliss and his reputation? Classic acting? Bette Davis at the beginning of her career? The themes of impairment, denial of God’s existence, the discovery of philanthropy and doing good for others (a playing of God)?

2. 1932 production values, the black and white photography, the Paris and New York settings? The outdoor sequences of both cities? A feel of authenticity? The film mainly confined to rooms and concert halls? The musical score – and the classics?

3. The portrait of Montgomery Royle? George Arliss and his age, appearance? His musical skills? The devotion of Grace, walking in the streets, his fans wanting to greet him? His slightly ironic air, not taking it all too seriously? Florence as his manager? The friendship with Mildred? The performance, the coming of the king, performing for him? The bomb, his losing his hearing? Memories of his mother, her religious background, losing her hearing? Return to New York, his isolating himself, people writing notes? Grace and her devotion, Mildred and her visits, Florence and her management? His dependence on Battle? The solution of his learning to lip-read, the doctor and Monty’s skills? Grace’s binoculars? His using them, looking down into the park, the young couple in love but having no money, the boy’s illness? Asking for the address and sending the money? The young man and his girl, his robbing the money, returning it, his arrest, Monty’s influence in getting the charge withdrawn? Their happy reunion? His reading Grace’s lips, hearing of her devotion to him, her love for Harry? Her arrival, his gracious letting her go, her response? The organ, his going to play it – and the possibility of a future with Mildred? An interesting character and performance?

4. Grace, the young Bette Davis? Devotion to music, infatuation with Monty, the lessons, walking in Paris, the promise of marriage? Her dismay at his withdrawal, her going to Santa Barbara for the month, the attentions of Harold? Away from New York, falling in love with Harold? The scene in the park, her confession to Harold, going to marry Monty, her realising he had read her lips? His letting her go?

5. Florence, her love for her brother, managing him? Her friendship with Mildred, encouraging Mildred to see Monty? Mildred and her discussions, her finally being with Monty in the church at the organ?

6. Battle, the tradition of the butler? The message for Florence, his realising that Monty was going to attempt suicide, his saving him, giving him the hard word? His going to the people in the park, helping them out, the kiss for the young woman, best man at the wedding? Devotion?

7. The picture of society at the time, the people at Santa Barbara, the high life? Grace in this context? Harold and his devotion?

8. French society, duchesses, fans of the musician? The concerts? The contrast with life in New York?

9. The religious dimension of the film, the Scripture quotations, Monty and his rejection of God, his life being saved by Battle, his looking at people in the park, his beneficence, happiness in sharing the work with God?

MONSIEUR LAZHAR

Canada, 2011, 94 minutes, Colour.
Fellag, Sophie Nelisse, Emilien Neron.
Directed by Philippe Falardeau.

This is a very fine and moving film, one to seek out. It was Canada’s entry for the 2011 Oscar for Best Foreign Language film (beaten by the also wonderful Iranian film, A Separation). It also won two awards from SIGNIS, the World Catholic Association for Communication, in Hong Kong and in Washington DC.

The opening shot is an overhead view of primary school children playing in a snow-covered Montreal playground. The film stays principally within the school and, at these times of debate about education (teachers’ hours and pay, classroom teaching and staff meetings and corrections, strict regulations about touching children and about discipline, all of which are part of this film), it is both perennial and topical.

The first segment, well orchestrated as it introduces us to two of the main children (who give extraordinarily convincing performances, especially in highly emotional sequences) leads to the discovery that their teacher has hanged herself in the classroom. The children’s responses (and those of teachers and parents) and the need for grief and counseling remain a constant theme, the screenplay offering the many-sided, sometimes contradictory, facets of dealing with such a tragedy.

But Monsieur Lazhar, of the title, has not yet entered the film. Reading of the death, he comes to offer the school principal his services as relief teacher. He is from Algeria, a political refugee, whose wife and daughter have been killed in a deliberately political apartment fire. In fact, this part of the narrative raises another topical issue, that of asylum seekers. There are some stirring sequences where M. Lazhar has to justify himself to migration authorities who take a devil’s advocate position, seemingly inured to thinking or feeling about what life’s experience and tragedies have been for the refugees trying to explain what has happened in their lives.

However, most of the film is set in the classroom and the school corridors, yards and principal’s office. M. Lazhar has some old-fashioned methods but, gradually, the children warm to him, trust him, especially has he teaches them creative writing along with their grammar, and tries to deal with the grief at the death of their teacher. We do see him outside the school, alone at home, a visit to a colleague, the migration interrogation.

60 year old Algerian actor, Mohamed Fellag, simply billed as Fellag, is totally convincing as M. Lazhar, winning over the audience as he does the children and staff. He has suffered. He has survived in Canada. He is trying to gain citizenship. He emulates his teacher wife as he deals over the school year with the students.

As mentioned already, the children are also convincing, Simon the angry little boy, Alice the intelligent and creative little girl, Marie-Frederique? the poised and bossy girl, Victor the large Chilean boy who is picked on, little Boris who suffers from migraines (and a bad, sugary diet), M with an Arabic background. You believe the teachers as well, the sports master and the janitor (the only other men on the staff), the principal trying to do her best but with pressures from parents and the education department.

Director Philippe Falardeau makes every scene effective with an attention to visual or acting detail which makes the audience feel that they are vividly present to the school. There is also a restrained piano score.

Monsieur Lazhar is going immediately on to my list of favourite films.

1. The acclaim for the film? Awards? Topical?

2. A Canadian production, Canadian issues, universal issues?

3. The Montreal setting, the school, the apartments, offices? The passing of the seasons?

4. The tone, the restrained musical score, evocative?

5. The opening, the schoolyard, the children, the overview, playing in the snow, introduction to Simon and Alice? Their sharing – and their resumption of sharing at the end? The issue of the milk, the corridors, Simon getting the milk, seeing the dead woman, running, the effect for the audience?

6. The teachers, shepherding the children out into the yard, the ages of the children? Alice and her seeing the dead teacher? The response of the teachers, the principal?

7. The aftermath, the repainting of the classroom, changing aspects of the room, but the inability to change the room? The children, the response to the counsellor? Her treatment, the sessions? The effect? The question as to who was traumatised – the parents or the children?

8. The dead teacher, liked, her style, the circle of desks, the teachers and their friendship with her, her illness, hugging Simon and the repercussions, Simon’s rejection and reporting? The cumulative effect? The audience finding out these aspects later in the film? Alice and her taunting Simon, Simon and his angers and expression, hitting the ball, his outbreak, not wanting to be blamed?

9. The situation in the school, Monsieur Lazhar and his arrival, his initial impression, age, manner? French language? The offer to teach, declaring his nineteen years of experience, his documents? The discussion with the principal? The later revelations about his wife, running the restaurant, her documents, the parents reacting to him, the investigations, the principal and the final talk, having to let him go?

10. The character and personality of the principal, her responsibilities, coping, the meetings, discussing of the children, the parents? Her orders for Lazhar and the treatment of the class, their discussions of the dead teacher? Her final dilemma, having to let Monsieur Lazhar go?

11. Monsieur Lazhar, the introduction, going into the classroom, the questions of the children, as to where he came from, Algeria? Changing the desks? The dictation from Balzac? Teaching grammar? The request to change his methods?

12. His response to the classroom, the friendship of the teachers, Claire, putting on the play, the parody of colonial aspects with Stanley and Livingstone? Inviting him to the meal, flirting? His serious response?

13. The other two men on the staff, the sports coach and his feeling isolated, not able to touch the children, especially for the athletics horse? The painter and his maintenance? Their friendship with Monsieur Lazhar?

14. The issues of touching the children, not hitting the children, issues of discipline, respect, the memories of the past and regulations? The careful attitudes of the present?

15. The parents meeting with the staff, their discussions, Marie-Frederique’s? parents, their strictness, the hyphenated name, their dislike of Monsieur Lazhar, telling him not to parent their child?

16. Monsieur Lazhar and his fables, the chrysalis, his telling the story, images of the children, education?

17. The music, his dancing alone, going to the dance, with the children, supervising?

18. Lazhar and his going to the lawyer, the interrogations by the officials? His documents? The second visit, the revelation of his plight, the story of his wife, her book, the fire in the apartment block, the death of his wife and child? The checking with the Algerian police, the reality of the fire, his being accepted by the Canadian authorities?

19. Simon, his age, his aggression, the hug from the teacher, his reaction, feeling the blame? His speech and the debate about violence? His violence in the hard? The clashes with Alice, teasing Victor with his cap? The speculation that Martine knew that he would be getting the milk that day and that he would find her?

20. Alice, her mother the pilot, Alice’s talent, Monsieur Lazar’s favourite, denouncing Simon, her speeches, her writing? The reconciliation with Simon?

21. Victor, fat, from Chile, his being teased, talking to Monsieur Lazhar, the episode with the dictionary?

22. Boris, his migraines, his sugar food, Monsieur Lazhar sending him out into the air, his coming alive, the points for getting the dictionary?

23. Marie- Frederique, the rules, strong personality, dominance?

24. Abdelmalek, his presence in the class, talking Arabic? His response to Monsieur Lazhar?

25. The discovery of the truth about Monsieur Lazhar, the complaints, the principal’s talk?

26. The final farewell, reading his fable, the hug for the children? His future?

NOT SUITABLE FOR CHILDREN

Australia, 2012, 96 minutes, Colour.
Ryan Kwanten, Sarah Snook, Bojana Novakovic, Ryan Corr, Alice Parkinson.
Directed by Peter Templeman.

Not a classification piece of advice – though it would serve as that as well. No, Jonah, an easygoing, party-hosting, rather hedonistic 35 year old, discovers that he has testicular cancer and the operation will make him unable to father children. So, both in his lifestyle and in his physical condition, he is not suitable for children.

But he does suddenly discover that he really would love to have children. But, to his surprise and dismay, his sperm are not suitable for donating and freezing. He then meets (auditions for) a number of women who could carry his child, especially raising the question with a lesbian couple – but they decide against the proposition. Could there be an opportunity with his former girlfriend (Bojana Novakovic) from whom he is having a six month separation? He is being helped with contacts by his flatmate, Stevie (played with verve by Sarah Snook, whom, many note, looks and acts like American star, Emma Stone) who thinks she has no maternal instinct at all.

Just how wrong we can be when we are self-selfish-focused and not alert to our deeper longings?

So, that’s the story, Jonah becoming more desperate as time is running out (which is aggravated by his devotion to his sister’s children). What happens? Not a miracle, but a rather more down-to-earth realistic ending.

True Blood star, Ryan Kwanten, plays Jonah in an ingenuously earnest way. His appearances in Australian films, Griff the Invisible and Red Hill indicate he has more versatility than he can show in True Blood.

The film offers a light touch preoccupation with deeper values about life and, especially, about being able to create and love children.


1. The title? The usual meaning? As applied to Jonah, his cancer, infertility?

2. A Sydney story? Newtown, suburbia, the streets, the homes? The parties and the raucous street celebrations? Party organisation? The visitors? The police?

3. Sydney, the suburbs, the city, workplaces, restaurants, hospital? Score?

4. The introduction to Jonah, Gus, Stevie? The parties, their organisation? The electricity and the generator, paying the neighbour?

5. Jonah, genial, forlorn, the sexual encounter, the discovery of the cancer, the doctor being frank with Jonah, the explanation, the date for the operation, the effect on Jonah? On Gus? Stevie coming home – and surprised?

6. The paternity theme, Jonah and his strong desire to have a child, the strong child-focus of the film? Sperm donor, the nurse, the impossibility of freezing the sperm? The suggestions for his getting a child? His friends? Pregnancies? The arrangement? The insight into Jonah, his discovering his immaturity, his need for maturing, love for children?

7. Stevie, helping Jonah, Alison and Jennifer and the interview, the awkwardness, the discussions about lesbian couples, about pregnancies? The date with the co-worker, drinking, talking, her not being able to commit?

8. Jonah and Claire, the family, his parents, Claire’s children, his love for them, babysitting them, yearning for a child? Stevie, the babysitting, her lack of interest in children, awkwardness with the baby – but holding it, discovering her maternal instinct?

9. The discussions about the arrangement, the idea, keeping it secret?

10. Stevie, the realisation that she wanted to be a mother, the slip of the tongue, Jonah’s response, her preparing the document, his reading it and not reading it, signing?

11. The attempts for the pregnancy, the tenuous beginnings, counting one to ten, the comic touches, getting more realistic, the effect, the test not positive?

12. Gus, his organising the parties, oblivious? Watching Jonah and Stevie, suspecting something, the plans?

13. The final party? Ava, Jonah’s relationship with her, no contact for six months, the meeting in the restaurant, his inability to tell her the truth? Her coming to the party, her realisation of the truth? The attempt for the pregnancy? The interruption, Jonah and his not being able to go through with it?

14. Stevie, her arrival, upset? Her anger with Jonah, telling him off, saying he was unsuitable to be a parent? Her apology? His chasing the car, the comic effect?

15. The realisation of love on the part of both? Jonah’s comment on Stevie as a mother? On himself as a loving uncle?

16. Going to the hospital, Claire and the family, Gus, his taking the baby out, Stevie and Jonah, their love – and the future?

17. The ability of the screenplay to combine comedy, seriousness, cancer, love?