Displaying items by tag: Kerry Condon

TRAIN DREAMS

US, 2025, 102 minutes, Colour.

Joel Edgerton, Felicity Jones, William H.Macy, Clifton Collins Jr, Alfred Hsing, Paul Schneider, Nathanial Arcand, John Diehl. Narrated by Will Patton.

Directed by Clint Bentley.

Here is an impressive piece of Americana. It is based on an award-winning novella of the same name by Dennis Johnson, 2011. It has been written and directed by Clint Bentley, with his collaborator, Greg Kweder, who were Oscar-nominated for the screenplay for the recent Sing Sing.

This is a film about a very ordinary American, Robert Granier, birth to death, from the 1880s to the 1960s, an extraordinary span of change. In most ways, Robert Granier could be considered to have lived what might be called “an unremarkable life”. As a boy, not knowing who his parents were, sent to live in a small town, accepted, growing up there, ordinary jobs around the town, the years passing, nothing particularly much happening.

By the time he is 30, he is working as a logger, chopping the trees, sawing them, out on locations, the railways, laying tracks, building bridges, but just one of the group of similar men, most rather introspective, the silent types, dedicated to their work.

Robert Granier is played by Australian Joel Edgerton, a fine performance, and because of his not being conversational, the film has a frequent voice-over, by actor Will Patton, who is able to articulate what the quiet Robert cannot: his ordinary life and work, encounters with his fellow workers, surprise at the prejudice against the Chinese and shock when the workers throw one of the Chinese over a bridge, later feeling guilt about this occasion, and, on a return home, encountering Gladys, Felicity Jones, at church, she initiating the friendship which leads to marriage, the building of a house, the birth of their daughter, joy for them both, but a surprising joy for Robert.

The film moves at a measured pace, offering the audience a lot of time for reflection, opportunities for a ruminative response, even offering moments that could lead to meditation on life and its meaning. And, there are the dreams, Robert’s happy dreams, after a destructive fire unhappy dreams and hauntings.

Out in the forests, there are some interesting characters, especially William H Macy as Arn, an explosives expert, friendly, chatty, a sad death but an influence on Robert.

There is some hope for Robert later in his life, an encounter with a nurse from World War I, Kerry Condon, who is billeted at one of those towers built to observe and prepare for wildfires. And, finally, after living in his house without any amenities for so many decades, he ventures into the city, the 1960s, space exploration – and the offer of a ride in a small plane, to see the world from a bird’s point of view, but an exhilarating experience which brings back, visually on the screen for the audience, his images and memories, the people who were influential in his life, reminding him and us of his unremarkable but humanely ordinary life.

1. Popularity and awards of the original novella? The adaptation close to the spirit of the novella?
2. A piece of Americana, in the 19^th century into the 20^th, into the 1960s? From birth to death? A life lived, well-lived? The transition from the 1880s to the 1960s, the title and the symbolism of the railroads, branching out, travelling communication and, at the same time, the destruction of forests, the laying of tracks, building bridges? The train dreams of the development of the United States?
3. The photography, the forests, the railroads? The trees, the loggers work? The house and building it, the interiors? The various camps? The visits to the town? The photography of the fire? Going to the lookout? The later visits in the 20^th century? The atmospheric and meditative score?
4. The use of the narration, the tone of the voice-over, the voice-over important because of the silence of Robert?
5. The range of dreams, Robert’s imagination, subconscious surfacing, happy memories, nightmare memories, imaginative fantasies about his wife and daughter?
6. Robert’s story, from the 1880s to the 1960s? His background, scenes as a boy, no knowledge of his parents, living in the town, growing up? A silent boy, introverted? Growing up, work, moving to logging, the logging community, the experience of prejudice against the Chinese, the man thrown over the bridge, the effect on Robert and his consciousness, conscience? Going to church, Gladys and her approach, their keeping company, her saying it was a marriage and they need a ceremony to ratify it, life together, the birth of the baby, the joy of the baby, the details of life at home? His coming home in the happy reunions?
7. The details of Robert’s life, seemingly unremarkable but ordinary, his quiet, reflections? The friendships amongst the loggers? The preacher and his story, the pursuer arriving and shooting him? African-American? Arn, his age, explosives expert, the failure, success, his friendship with Robert, the conversations, the tree hitting him, affecting his mind, his death, the burial and the words?
8. Returning home, the train rides, the fire, its intensity, the burning of the house? Robert returning, loss, grief?
9. Robert, at home, gradual rebuilding, life alone, the years passing? The encounter with Billy, getting old, his loss of memory, thinking Arn was still alive? And Robert getting older?
10. His work, the carriage and horses, carrying the goods? His quiet life, the encounter with a large bear? The dogs becoming part of his life?
11. Clare, giving her the lift, her job, nurse during the war, the death of her husband? Friendship, conversation, shared wisdom? Her work, the tower, and the view from the tower?
12. The years passing, Robert’s simple life, none of the amenities and technical developments of the 20^th century? The decision to go to Spokane, the 1960s, space exploration, the man calling out to take him into the air, the realm of the birds? His going on the flight, the experience, some transcendence in his life?
13. In the flight, the opportunity for the images of his life to recur, the range of people in his life, the sadness and happiness in his unremarkable life? And his death?

F1

US, 2025, 155 minutes, Colour.

Brad Pitt, Damson Idris, Javier Bardem, Kerry Condon, Kim Bodnia, Tobias Menzies, Sarah Niles, Samson Kayo. Callie Cooke.

Directed by Joseph Kosinski.

Just in case there is someone who comes across this film, unaware of the meaning of what looks like a code, F1, it is, of course, Formula 1. Cars racing.

Over the decades, this is been a popular subject for the movies, in the 60s there was the Cinerama epic, Grand Prix, and films with stars like Steve McQueen at Le Mans and Paul Newman (who was an aficionado driver in real life). There was Tom Cruise in Days of Thunder, the biographies of various famous drivers like James Hunt and Nicky Lauder in A Rush, Ayrton Senna. And focusing on the entrepreneurs, Ford versus Ferrari.

Which means that there is a strong fan base for racing car movies also eager to see Brad Pitt in this film, and the promise of adrenaline pumping driving action. As regards the action, the fan base is certainly not disappointed. On the other hand, there is the question of what will non--F1 audiences make of it. At over 2 ½ hours, many might find it too much, the intensity of the races, the dangers, accidents, speeding skills…

Yes, F1, is for the fans.

The opening is in the US, Daytona, establishing the film for the American audience. However, it quickly moves to the UK, to Silverstone. And, as it progresses, the competition travels to Italy, Hungary, Japan, Holland, Abu Dhabi, Las Vegas – but sadly for Australian fans, not to Albert Park.

The central character is Sonny Hayes, a would-be champion with skill in the 1990s, a horrendous crash, his withdrawing from racing, and making more than a mess of his life. But, he decides to participate at Daytona, successful, and then approached by his great friend from the past, Ruben (an always welcome Javier Bardem). Ruben’s company is in financial mess, has an up-and-coming English driver, Josh Pearce (Damson Idris). Ruben has an offer that he hopes Sonny can’t refuse. He turns up in London and the rest of the film is race after race, rivalry between the up-and-coming driver and the veteran, tactics and accidents, the rough and tumble, plenty of both, in F 1.

The race sequences, of course, are outstanding – and, many of the sequences with the camera in the driver’s seat, the audience in the driver’s seat.

What is interesting is the behind-the-scenes, not just the squads at the pit stops, performing with speed and efficiency, but the technicians, the designers of the cars, the scientists, the engineers, as well as the companies and their board members (and schemes). And, during the races, the communications to the drivers, the network of information during the race, the panel giving advice, suggesting tactics, much more interesting than might have been imagined.

There are, as usual, family issues, love interest, and, all the time, the focus on Brad Pitt, turning 60 as he made this film, still with all the charm and bravado that he has shown for over 35 years.

The film was made for the fans and with such racing action sequences, they will not be disappointed.

1. The popularity of Formula One? The history during the 20^th century? Developments in the 21^st-century? The early cars, the early speedways, the competitions, becoming more international, the venues, more and more elaborate? The technology behind the development of the cast? The techniques of the drivers? The business aspects? (And the movie tradition of Formula One and car racing movies?)
2. The production values? For fans of Formula One? The visuals for the races, on the cars, manoeuvres, accidents, technology of the cars, speeds, the pitstops and changes, the panels and the keeping the drivers in contact with what was happening, advising? The business side? The atmospheric score and its sometimes pounding?
3. The filming of the events, the car often in the driver’s seat and the effect for the audience?
4. The focus on Sonny Hayes, Brad Pitt at 60? His character and personality, in the 1990s, the photos and video of him as young, racing, ambitions, talent, the crash and the consequences, driving, camps, relationships, divorces? The ad for help in Mexico? His performance at Daytona, achievement, return, noticed?
5. The arrival of Ruben, the relationship in the past, friendship, the photos? Ruben and his company, financial difficulties, with Joshua Pearce and the hopes, lack of success in the competition? The offer to Sonny, not just finance, the possibilities? Leaving it with him? Sonny and accepting?
6. The company, London, the meetings, the Board, Ruben and his concerns, the businessman on the board and the encouragement? The reliance on Joshua, age, but not as successful as hoped for? The arrival of Sonny, suspicions, his attitude, carefree?
7. Joshua, his age, skills, ambitions, experience, his relationship with his mother, her strong influence? His reaction to Sonny, considering him old, the press conferences, his slur, later apology? Observing Sonny, his exercise regime?
8. Kate, her design and engineering background, recruited by Ruben, her skills, card designs, the physics and aerodynamics? Her personality, wary of Sonny? It attracted, the discussions, her initial resistance? Her involvement in the races, the advice, the discussions with about car design, airflow…? Travelling, the discussions, success, the attraction, the hotel, the relationship?
9. The various members of the crew, Casper and his experience, the different ranges of expertise? Hugh, the bet and overheard? Cash and his personal assistance for Joshua? The impact of the scenes of the crew working together? The pitstop crew and the young woman and her accidents, supported, especially by Sonny, her improvement?
10. The race sequences and their impact, Daytona, Silverstone, and the various travels around Europe, to Japan, Las Vegas? The camera in the driver’s seat? The tracks, the speed, the manoeuvres? And the crowds and support?
11. Sonny, his attitude, the visual flashbacks to the past with Ruben? His story? His carefree attitudes, his shrewdness? The development of the manoeuvres, the disbelief of the team, Joshua and his wariness? Joshua and his crash, hospital, his mother’s reaction, especially to Sonny?
12. The business aspects, the need for wins, Sonny and his tactics, the improvement? The substitute driver and the success of the tactics? Joshua’s return, the advice from Sonny, Joshua not following it, then admitting it?
13. Peter Banning, smooth talk, business interests, his forging the details about the repairs, the authorities and forbidding the use of the cars? His approach to Sonny, offering the financial deals, disregard of Ruben? The effect on Sonny, his behaviour during the final race, Banning and the board and all the visitors, the possible sale? Sonny defying him and giving him the finger?
14. The final success, the company saved, the threats to Ruben, the bonding between the two?
15. The future? Joshua and his career, Sonny and some achievement, partnership with Ruben, with Kate?
16. In retrospect the plausibility of the plot, Sonny at 60, physical fitness, capacity for driving, his manoeuvres? But, despite any quibbles, an entertaining experience for fans of Formula 1?

NIGHT SWIM

US, 2023, 98 minutes, Colour.

Wyatt Russell, Kerry Condon,

Directed by Bryce McGuire.

In more recent times, there have been a number of “horror films” which are more widely accessible to a drama friendly audience. There are not horror films in the sense of blood and gore, the type of horror films popular at horror festivals. Rather, the new films are films of menace, haunting, often with what might be called PG characters. They can play well to a more family oriented audience but are denounced as to tame by the gore aficionados.

We are introduced to the touch of menace immediately, a little girl with her invalid brother, a toy floating in their pool, her deciding to retrieve it, but her then being dragged into the pool and disappearing.

What follows is, in many ways, the kind of plot we might have anticipated. A family, the father a baseball champion but debilitated and recuperating, a supportive mother who works in school administration, an older daughter, a younger son, deciding to settle down and buy a house. Of course, they are attracted by the house and the pool. So, we really know what is going to happen but the tantalising aspect of the film is how it will happen.

Audiences will be attracted by this pleasantly average American family, the father played by Wyatt Russell and the mother played by the Irish actress, Kerry Condon (Banshees of Innisfail). There are scenes with the doctor and hope of recuperation, there are scenes of swimming and the father getting better, there is exaltation in having the pool.

However, the daughter senses presence of others but no one there. The son enjoys a game of retrieving coins, but no one there. The mother senses eerie presences, but no one there. But, we know who’s there!

There is a happy sequence where the father takes his son to a baseball practice, the mother encouraging the somewhat timid son to hit the ball – and he does. But, the crowd persuades the father to demonstrate his past progress and he certainly smashes the ball. Happiness all round.

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So, what better than to have a party, to invite everyone from the school, the neighbours, a welcoming party. But, of course, the haunting strikes, everyone afraid, leaving, denouncing the family.

There are some complications, of course, the mother seeking out the owner of the previous house to get the story and learning of a strange mythology of the powers of water, the healing power but there always demanding a human sacrifice, giving up the weakest member of the family. Which leads them to a dramatic underwater climax, family confrontation – some saved, and a sacrifice made the sake of others.

1. Drama, touches of menace and horror? Wanting? Powers evil? But a family story?
2. The formula, Rebecca and the haunted house, the drowning? The empty house, sale, suppression of the truth? The buying of the house? Manifestations of evil, manifestations of healing?
3. The American family, middle American, the baseball background, reputation, loving father, loving wife, son and daughter, the wife of the school in administration, husband and his therapy? The stories about the birth of the children? The moves, wanting to set down roots, the house, the attraction of the pool?
4. The father, interviews with the doctor, diagnosis, therapy, improvement? The wife, work at the school, her bonding with the children, support of her husband?
5. Elliott, in the pool, the issue of the coins, no one present? The sound on the diving board? The presence of Rebecca, Elliot putting his hand in the entry, voice, his fears? Isabelle, in the water, a sense of presence, absence? The same with the wife? The husband in the pool, the relationships, the effects, the atmosphere?
6. The baseball episode, his mother encouraging Elliot, hitting the ball, the father and the enormous it, the ball, the souvenir the autograph?
7. Isabelle, friendship with Ronin, the pool, the visit at night, the eerie experiences?
8. The party, the friends and children arriving, the happiness, the mother’s discussion with the estate agent, the revelation of the Rebecca story?
9. The boy with the autograph, on the father’s shoulders, confronting the big man, the pressure, the boy almost drowning, the father, the blackness in the pool, absorbing it? The hostile reactions of the families?
10. The father, his physical health improving? Yet the aftermath of the incident, his being paralysed? Driving the car? The mother, seeking out the Japanese mother, the interview, the mythology of the lake, the power, healing but wanting a sacrifice? The son becoming wealthy? Rebecca expendable?
11. The buildup to the finale, the sacrifice of Elliot, being weak, in the pool, the father, Isabelle with the bat? Elliot, under the counter, his mother diving in to save him? Isabella, the haunting, saving Elliot, getting a baseball bat, confronting their father, the mother, Rebecca helping, the final confrontation? Elliot the weakest? The father and his self-sacrifice?

12. A haunting story rather gory? And a PG story?