Displaying items by tag: Peter Malone's Movie Reviews

MONEY MADNESS

US, 1948, 73 minutes, Black-and-white.

Hugh Beaumont, Frances Rafferty, Harlan Warde, Cecil Weston, Ida Moore.

Directed by Sam Newfield as Peter Stewart.

Hugh Beaumont was successful in a series of supporting features, taking over from Lord Nolan, as Michael Shayne, private Detective. Hugh Beaumont had a number of short feature roles in the 1940s, in his private detective  outings, audiences seeing him as both charming and casually carefree.

He had the strong opportunity to appear as a psychopathic villain in the brief film noir, Money Madness. Ultimately, he was famous and very popular for the long-running series, Leave it to Beaver as the father of the family.

In money Madness, he participated in the robbery, the Robert shot, his taking the money and storing it, then fulfilling his scheme, is a cab driver, charming young woman, marrying her, killing her hypochondriac and demanding can’t, making sure that husband and wife cannot testify against each other, telling the young woman lives, trapping her in difficult circumstances. There is a romantic interest in the lawyer who handles her arts will. And the plan is to say that the money stored in the attic had been kept by the art with nobody knowing and therefore her niece inheriting it.

Strange aspect of the screenplay, the film opens with the young woman getting a 10 year sentence. The end does not come back to that. Rather, the audience knowing about the sentence, has a high hopes that the charming lawyer who has survived the psychopaths attempt on his life, will clear the young woman’s name.

An unusual film noir of 1948.

I PREDATORI/THE PREDATORS

Italy, 2020, 109 minutes, Colour.

Massimo Popolizio, Manuela Mandracchia, George Montanini, Pietro Castelitto, Dario Cassini, Anita  Caprioili.

Directed by Pietro Castelitti.

Principally a satiric comedy for fans of Italian cinema. The screenplay was written by Pietro Castellitti, son of prominent actor and director, Sergio Castellitti, and the film was directed by him. It received several nominations at the Venice film Festival, 2020, and the screenplay won best screenplay in the Horizon section.

A lot of the action is farcical. However, there are quite a number of serious threads woven throughout the screenplay, conmen and exploitation of the elderly, doctors and lawyers, talent but misbehaviour, unfaithful wives and affairs, and a young man, very interested in Frederick Nietzsche and the exhuming of his body, collaborating with a professor. And, the mother of the young man is a filmmaker.

The characters are basically serious but lend themselves to some satiric situations. Comedy, pathos, ideals, betrayals…

And, ironically, one of the characters at the end of the film beginning an affair with the conman watch seller whom audiences saw at the beginning of the film, selling a watch to an old lady, her son (bringing in political issues as well) setting in motion some kind of saving her and revenge.

1. A perspective on Italian life, creditors and victims, interconnections?
2. The Ostia locations, modest homes, affluent homes, film sets, gun shops, professorial offices…? Atmosphere? The musical score?
3. The initial episode with the watch, the seller, the predator, his spiel, Inez, Ege, baffled, buying the watch? Claudio, his fascist perspectives, upset about his mother? Then her being run over?
4. Inez, the accident, the hospital, doctor a public figure, his treatment, his family, wealthy, Ludovica, his wife, her work on the film, exacting, interactions people on set, ambitions, budgets, problems? Her husband, his role at the hospital, working with Bruno, Bruno and his jokes, his relationship with Bruno’s wife, the affair?
5. Federico, their son, academic, obsessed with the work of Frederik Nietschze? The discussions with his professor, the possibility of exhuming Nietschze’s body? The professor recognition his refusal?
6. Federico, his affluent background, philosophy and study, going to the shop, with Claudio, the buying of the bomb? The explosion and his injury?
7. Claudio, his fascist uncle, the shop, the victim and his background, the threats? Flavio and his influence on Claudio, targeting Federico?
8. Claudio realising that Federico was the son of the doctor who saved his mother’s life? The emotional tangles, pressures, and Claudio’s son, Cesare, Ege 12, the guns, shooting, Flavio’s death? The consequences for Claudio and responsible for his son’s behaviour?
9. Bruno, his death, his wife, beginning the relationship – and with the watch seller from the beginning of the film?
10. Back to the title, who were the predators, the way they were predators, their victims?

REUNION

New Zealand, 2020, 95 minutes, Colour.

Julia Ormond, Emma Draper, Ava Keane, Gina Lafferty, John Bach, Cohen Holloway.

Directed by Matt Maffahy.

It is important to note that only dedicated film watchers may persevere with Reunion until the end. Most audiences have found the film difficult to follow, very slow in its pace, tantalising sometimes with themes, and the temptation to give up.

This is a New Zealand production with an American director, and a British lead actress, Julia Ormond. The cinematography is powerful, most of the action confined to the interiors of a house, the main room is full of all kinds of furniture and ornaments, a more sinister upstairs, some ventures outside the house. It is significant that the film is impressive to look at, and an atmospheric score.

The opening credits are very tantalising, all kinds of cards, slides, ancient manuscripts indicating conjoined foetus in the womb, other aspects of closeness of brothers and sisters, and this theme continuing at times in the dialogue throughout the film, especially in the research of the daughter, estranged from her mother, now pregnant and returning home.

On the one hand, the mother, Julia Ormond, seems solicitous for her daughter, the daughter with ambiguous responses, on the one hand and some pressurised emotional violence on the other.

For those who persevere with the film, there is the grandfather, elderly and confined in the house. There are many flashbacks, the emergence in the story that there are two sisters, bonds, rivalries, issues of parental fidelity and infidelity, and all the time the mental and physical state of the mother, discipline, beatings, verbal pressure – and the relationship between the two sisters trying to cope.

As with this kind of atmospheric story and characterisation, it builds up to the revelation of secrets within the history of the family, psychological and physical horror, the challenge to an audience to persevere with exploring the deep secrets and horror this family, especially mother and daughter.

I BELIEVE IN YOU

UK, 1952, 95 minutes, Black-and-white.

Cecil Parker, Celia Johnson, Harry Fowler, Joan Collins, George Relph, Godfrey Tearle, Ernest Jay, Laurence Harvey, Ursula Howells, Sidney James, Katie Johnson, Ada Reeve, Brenda de Banzie, Gladys Henson.

Directed by Michael Relph, Basil Dearden.

This is a serious British film of the early 1950s, the team of Michael Relph and Basil Dearden, making a number of serious films together, then Basil Dearden directing on his own with such significant films as Victim and Khartoum.

Cecil Parker had established himself as a serious character actor and leads the cast here, a retiree, wanting to do something better with his life, becoming a parole officer, having to adapt his manner and even his clothing to the ordinary types that he encountered, yet able to get the trust of several, guide them, supervise, be challenged, make mistakes. He provides a voice-over for the action.

There is a very strong supporting cast led by Celia Johnson, best known for her Oscar-nominated performance in David Lean’s version of Noel Coward’s Blithe Spirit. There is a young Laurence Harvey as a surly criminal. And Joan Collins in her fourth film, making an impression – and, within two or three years, starring in Hollywood films. There is Sidney James working in an office, Katie Johnson, the famous old lady from the Ladykillers, an early role for Brenda de Banzie.

Not necessarily a film that contemporary audiences want to watch, but a worthy film and a reminder of past issues in British society.

1. A serious piece of British filmmaking in the 1950s? Ordinary people, ordinary life, crime, the courts, parole officers?
2. The perspective on Britain in the early 1950s, post-war, ordinary life, families, crime, courts, prisons? The role of the parole officer, supervision, counselling and help?
3. Black-and-white photography, streets, homes, offices, courts, authentic feel? The musical score?
4. Mr Phipps, the voice-over, Cecil Parker and his screen presence, his career, retirement, wanting to do something better, becoming a parole officer, the encounters with the other members of the staff, the friendship with Matty, the sympathy, challenging him? His quiet life at home? At the office, the interactions with the police? The range of clients, in the court, giving evidence, commissioned to check on those accused, issues of accommodation, investigating family backgrounds, the details of his interactions and friendship with Charlie, with Norma, with the old lady and the paintings from her past, the old lady and the dog being poisoned, the mother of the boy with limited intelligence…? Friendly, criticised? The confrontation with the magistrate? Reaching out to Charlie, encouraging him, the accommodation, Charlie and the crime, his intervening, the bashing, in court? Decision to retire? Talking to Matty? Staying, the magistrate bending a little under Mr Phipps’ influence?
5. Matty, war widow, her work, personality, with those accused of crime, interactions with Norma, discipline, the alcoholic? The pregnant woman? Interactions with Mr Phipps, blunt, apologetic, going home for the drink? Encouraging him?
6. The elderly parole officer, his health, his clients, collapse, continuing his work, encouraging Mr Phipps and handing over his clients?
7. The local staff, the police, those at the desk, the busyness of the work in the office?
8. Charlie, his age, crime, difficulties with his parents, accommodation, with Mr Phipps, the gradual bonding, the issue of not living in a hostel, the relationship with Norma, her background, flirtatious, the past with Jordie, imprisonment, getting out, the plans with Charlie, the pressure from Jordie, her plea to Charlie, his reaction? But the happy ending, supported by Mr Phipps?
9. The elderly ladies, the lady who had posed for the paintings? The old lady and the neighbouring poisoners? The mothers? The severe fathers?
10. Jordie, sullen, prison, his gang, the robbery, caught?
11. Comparisons between past parole officers and later parole officers, supervision, prisons, in a world of supervision and technology?

GRAND EXIT

US, 1935, 68 minutes, Black-and-white.

Edmund Lowe, Anne Sothern, Onslow Stevens.

Directed by Earle C.Kenton.

A star vehicle for Edmund Lowe, very popular in the 20s, 30s and 40s. He often plays a smart gentleman type – and that is the case here, New York City, the desperate situation with the arson attacks on quite a number of prominent buildings, factories. And the target is the insurance company.

Lowe is Fletcher, dapper suit and tie, hat, aristocratic manner, self-confident, previously dismissed by the insurance company but, at the meeting, desperate to have him back. He is assisted by his friend played by Onslow Stevens. And, at the various scenes of arson, a young woman, Adrienne, played by  Anne Sothern.

In such a short film, it often seems that Fletcher is not doing any particular work at all – but, the screenplay gives him all kinds of insights, picking up clues, working out how the fires started, some quite ingeniously, but then falling in love with the young woman who eventually comes under suspicion, as does his good friend who is also falling for the young woman.

Quite some complications at the end, the young woman being arrested and sent to a mental institution, Fletcher putting on an act to get himself interned – with the knowledge that there is a paint shop in the prison a good centre for an arson attempt. And, this happens, the revelation being that the victim of the insurance company had not committed suicide, was alive, setting the fires in revenge.

Typical of the brief supporting thrillers and mysteries of the mid 1930s.

ALL THAT’S LEFT OF YOU/ Ally baqi mink

Germany/Cyprus, Occupied Palestine, 2025, 146 minutes, Colour.

Cherien Dabis, Mohammed Bakri, Saleh Bakri, Adam Bakri, Muhammed Abed Elrahhmen.

Directed by Cherien Dabis.

Palestine and Israel.

This quite long film, almost 2 ½ hours, opening with the first intifada in 1988. Some teenagers, away from school, becoming involved in the protest, one of them shot and severely wounded. His mother, full-screen close-up and talking to camera, urges the audience to reflect deeply on this event and proceeds to tell the family story.

In fact, the mother is played by the writer-director. Cherien Dabis, an American with Palestinian background drawing on her experience in the United States after 911 and anti-Arab violent reaction and some of the humiliations during travel. She has made a demanding film, the narrative then going back and spending some time in 1948, the period of the establishing of the state of Israel, the experience of the Nakba, the displacement of the resident Palestinians, focusing on a rather well-to-do Palestinian family, comfortable home, a beautiful orange grove, then bombardment of the grove, the father sending his family to a settlement for safety, his arrest, humiliating treatment, sentenced to hard labour. He is eventually released and joins his family. He has a cultured background, and communicates this especially to his very young son.

The narrative then moves on 30 years, to 1978, some practical acceptance of the displacement and the situation, politically, socially, religiously, of living in the West Bank. The little boy of 1948 has grown up, has his family, is a genial teacher of children. While it isn’t emphasised, the audience who is aware of the history of the Palestinians in the West Bank, will know the limitations from the loss of previous property, the challenges to bringing up a family. And, this is strikingly presented in what could have been an everyday occurrence at this time, curfew, changes in regulation, young Israeli soldiers challenging the father in front of his son, mocked, held at gunpoint, urged to say degrading things about his wife – which have dire consequences for the young son and his loss of esteem for his father.

And the son, back to 1988, is the teen who goes to the protest and is shot.

More harrowing limitations of life in the West Bank, the possibility of transferring the boy to a hospital in Haifa, extremely demanding regulations on identity, limited office hours to make applications…

And it is an all these scenes that Cherien Dabis, not only with her writing and directing, but with her intense performance as the mother, challenges the audience. And surprisingly, and movingly, after a routine request for donation of the boy’s organs, this theme, Palestinian organs in the Jewish recipient, raises the real, the emotional, issues of common humanity.

There is more, some decades later, the film finishing in 2022. But, the massacre by Hamas was to take place a year later and the whole history of Israel, Gaza, the West Bank was violently changed, and the film was released around the world at the time of the America-Israel war with Iran with who knows what consequences for the whole world.

1. The history of Palestine? Audience understanding, centuries of tradition, Arabs and Jews, the British mandate, the state of Israel, the Nakba, the displacement of the Palestinians, the occupation of the West Bank, Israeli dominance, intifada. the film is seen in the light of the mid 2020s, Hamas massacre, occupation and destruction of Gaza, attacks on Lebanon, war with Iran?
2. The perspective of the director, American, Arab background, identity, political work, media interests work in the US? Her films? The intensity of emotion behind the writing and directing here?
3. The impact for world audiences, for Palestinian audiences, for Israeli audiences?
4. The opening, 1988, the first intifada, the young men, school, demonstrations, the police response, shootings, the response of Hanan, talking directly to screen, the writer-director speaking to the audience?
5. 1948, the family, the tradition, the comfortable house, the orange orchards, Sharif and his personality, proud, love for his son, poetry, outings with Salim, relationship with his wife, the other children? Sounds of bombardment, his optimism, the reality of the state of Israel, the Israeli troops, the taking over of properties, the local meetings of the men, the mayor, whether to stay or to move to Lebanon or Jordan and elsewhere, his decision to stay, the bombardment and the ruin of the oranges, sending his family to live with the uncle?
6. His staying, his being taken, treatment, imprisonment, hard labour, the brutality? The surprise of his arrival, the family living in displacement, comfortable with the uncle, the cousins, going down to the tent area settlements, comparisons, lining up for food…?
7. 1978, 30 years later, Salim and his marriage to Hanan, their children, Salim as a teacher, playfully with the children, Noor in the class, the family surviving, comparative prospering, Sharif, living with the family, his age, heart condition, the visit of doctor, his memory lapses, sleepwalking, remembering his wife, her diabetes and injections, lack of medicine, her death? His loyalty to the family home, instilling that in the grandchildren?
8. Salim and his son going for the medicine, the curfew and erratic, held up by the soldiers, Salim being humiliated, to insult his wife in front of his son, his cowering, the boy’s reaction, not speaking to his father, resentful, thinking him a coward? The effect on Salim, not communicating this with Hanan? Taking its toll?
9. 1988, the return to the opening of the film, the protest, the boys, Noor wounded, his mother hurrying to the scene, the possibility of the catscan in Haifa, the complications of documentation, lining up, the office hours, the need for the documents, searching for Noor’s identity card, with his friend, the ambulance, going to Haifa, the doctor, prognostication, the surgery, brain dead, the bullet bursting in his brain, the ventilator keeping him alive? The grief of his parents, their constant presence?
10. The film focusing on organ donation and its repercussions? The official asking the parents, their hostile reaction? Hanan reconsidering, the discussions with Salim, the consultations with the imam, the interpretation of the Quran, possibilities for organ donation? The meeting with the authorities, specifying that it be known that the donation was Palestinian? The effect on the couple? The family? And the intimations of the future demonstrations and intifada?
11. The meeting between Hanan and the recipient of the heart, the tension, his hesitation, seeming resentment, Hanan and her desperation and feelings, his not serving in the army because of medical conditions, her having to leave, his not reaching out, the consequences for him?
12. 2022, the changing situation, the couple coming from Canada, the decision to visit Jaffa, Hanan not having seen it, Salim and his memories, wanting to pack, her plea for the day, their walking round, the reminiscences, the Arab Café and the conversation, the memories, the house still standing but a ruin, taking the photos, Salim and his experience from 1948 to 2022, more successful and survival than so many who stayed in the occupied West Bank, in Gaza, and the fate of Gaza in the mid 2020s?

DICK TRACY MEETS GRUESOME

US, 1948, 65 minutes, Black-and-white.

Boris Karloff, Ralph Byrd, Edward Ashley, June Clayworth, Tony Barrett, Skelton Knaggs, Milton Parsons.

Directed by John Rawlins.

Dick Tracy was a popular comic strip, especially in the 1940s, the central character of some supporting features and, in the 1950s, 48 episodes in the television series (with Ralph Byrd as Tracy).

This is very conventional gangsters and police drama/thriller in the American city of the time. However, the main criminal is played by Boris Karloff (with a line in the film stating that the villain looks Boris Karloff!). However, at this time, Karloff was playing comedies, especially with Abbott and Costello meeting Frankenstein…

Out of prison, Gruesome wants some more criminal action, connecting with his musical friend, Melody, working in a bar. The connection is doctor who is experimenting on lethal gases. Which leads, of course, to a group of criminals using the gases, which freezes those who inhale it for some minutes in motion. They rob a bank, getaway, shooting a policeman, giving the money, some complications with the criminal mastermind and his girlfriend, who works in the laboratories.

Dick Tracy, suit and tie, hat, gets into the action, investigates, has theories, has dangerous moments, risks the gas, a final battle between himself and Gruesome – and a gruesome end for Gruesome!

This film may be of interest because of the place of Dick Tracy in the American consciousness through comic strips, film and television. In 1990 Warren Beatty produced a rather lavish colourful extravaganza of Dick Tracy stories, the criminals in various grotesque masks. No masks here – although Skelton Knaggs, quite a name!, myopic and with thick glasses and lenses, is the closest. However, the  continued with the names of the various scientists, Dr  I.M.Learned, Dr L.E.Thal, Dr A.Tomic and the manager of the store, Y. Stuffum.

MAMACRUZ

Spain/Venezuela, 2023, 84 minutes, Colour.

Kiti Manver, Silvia Acosta, Chema del Barco.

Directed by Patricia Ortega.

Many themes in this brief film originated in Venezuela by writer and director, Patricia Ortega, but financed in Spain.

This is a film predominantly about women. Women’s issues – with quite direct and explicit sequences.

Veteran actress, Kiti Manver, plays the grandmother, Mamacruz, brought up in old-fashioned Spain, in a very traditional style of the Catholic Church and in spirituality and piety. She is a seamstress. She mends the veils and cloths that adorn the statues for the church, the parish priest always seeking her out for this work. (And, illustrating the style of Catholicism, the parish priest appears, friendly, businesslike, seen at mass celebrations and communion, also with scenes of the mainly women’s congregation listening to scripture readings, especially a quite erotic passage from The Song of Songs.)

Mamacruz lives a very conventional live with her rather sluggish husband, rather immune to any sexual attraction or activity, caring for her granddaughter, a precocious girl at school, her daughter, the girl’s mother, pursuing a successful dancing career in Vienna, communication by zoom.

With mamacruz learning about the Internet, she searches out some pornography, beyond the telenovellas that she and her husband watch at home. She is curious, partly shocked. Then her women friends at church complain about a friend becoming involved with a sex therapy group in the town. Mamacruz goes to the group, is welcomed, is fascinated by the very explicit discussions about female sexuality, physical, psychological, emotional… And starts to change, getting her hair styled, getting out former dresses, trying to provoke her husband, to little effect.

This experience changes her, makes her more aware of her daughter’s ambitions and that she herself had suppressed all her hopes in the past, the reconciliation with her daughter. However, with a strict Catholic party, she goes to mass but leaves before communion, seeks out a priest at another parish to make her confession, telling him about the pornography and the sex therapy group.

However, she has made a number of friends, all jovial together, making dresses for them especially as their forms change over the years, the special friend with serious illness in hospital.

The audience will be very interested in seeing how mamcruz had changed and was coping a year after the film ends.

YOU, ME & TUSCANY

US, 2026, 104 minutes, Colour.

Halle Bailey, Rege-Jean Page, Aziza Scott, Lorenzo De Moor, Stella Pecollo, Paolo Sassanelli, Stefania Corsini.

Directed by Kat Coiro.

A popular romantic comedy, what is often referred to as a “date night” movie, a lot of bloggers commenting on how it reminds them of a Hallmark romance, Hallmark transferred to the cinema screen. And they love it.

For some potential audiences, this might sound like a warning, even an alarm. Not another of those predictable romances, glossy and cheerful. For other potential audiences, and this film was very popular on its immediate release, it is an indication that this is a film not to be taken too seriously, an enjoyable night out, especially with friends.

The focus is on Anna, grieving the death of her mother, giving up on her cooking course, minding houses (and wearing the clothes of the unexpectedly returning owners), with an ambition to travel to Tuscany. She is played by Halle Bailey, who brought to life the live action version of The Little Mermaid. She chances to meet one of those surface-charming Italians who explains his empty mansion in Tuscany. Urged by her good friend Claire, off she goes to Italy, not a spare room in the town because of the annual celebration, and, with the help of a genial cab driver, goes to the Tuscany mansion, settles in, finds an engagement ring and puts it on (and, of course, can’t get it off), with the result that the family is absolutely delighted that their wandering son has become engaged, will come home, happy wedding, and happy ever after.

Well, of course not.

This is a film for audiences who delight in seeing the Tuscan countryside, the towns, the festivities, celebrations, kitchens and big meals, up there on the big screen. And the vineyards.

There is a cheerful atmosphere all the way through, even though Anna should reveal the truth (her cab driver agreeing with her cab that saying her decision to go along with the deception was much more romantic!). The screenplay is predictable, especially when her first encounter is with a good-looking man who is rather offhand with her and she demands an apology. Since he is played by the star of the film, Rege-Jean Page (who charmed television viewers in 2020 as the romantic Duke in the series, Bridgerton) we immediately guess that there will be complications, falling in love, the consequences of Anna’s not telling the truth…

And so it is.

There is a strong Italian supporting cast playing the extended family, all getting their more than moments to be characters, touches of caricature, some hesitation, some enthusiasm, but with the return of the wandering son, the seeming sealing of the wedding, and Anna having to step in to be the main chef for the final night celebratory dinner, how is it going to end up.

Yes, exactly…

1. The title and expectations? Romantic comedy? Tuscany and the Italian countryside and lifestyle?
2. Anna, her story, from the south, the death of her mother, devotion, the cooking course, leaving, house sitting, wearing the clothes of the owner, ousted? Claire as her friend and confidante? The dream of going to Tuscany? The chance encounter with Matteo, the drinks together, talking, the room, his falling asleep, the story of his mansion in Tuscany, keeping away from the family?
3. The decision to go, the constant contact with Claire? Arriving at the town, the friendly cab driver, the small car, his advice, the town itself, colourful, characters, going to the cafe, wanting the special sandwich, Michael and his vehicle, taking the sandwich, harsh with her, her wanting an apology? All rooms taken? The cab driver, the decision to go to the mansion?
4. In the mansion, lavish, the rooms, clothes, the engagement ring, not able to get it off? The gardener and his early singing? The arrival of Matteo’s mother and grandmother? The awkwardness, the suspicions grandmother, the engagement ring, the delight of all the family, her being welcomed? The cab driver, his advice, telling the truth, the lying as being more romantic?
5. Anna keeping up the pretence, the conversations, the different members of the family, the buxom sister, the young men, the mother and father, the grandmother, the cooking and recipes?
6. The encounter with Michael, wary, his charm, English but adopted, his parents’ accidental death, ownership of the vineyards, the tour, happy together, talking, the rain? The tourist groups and their comments
7. Matteo returning, challenging Anna, the family welcoming him back, keeping up the pretence, Isabella as the past girlfriend? Rivalry with Michael? The family situations, the pressure on Anna?
8. The Festival, dressing up, the ceremonies, the Bishop, the rolling the barrels, Matteo’s behaviour, Michael upset? The father’s accident and fall, Anna having to step in as chef, organising everything, the special meal, drawing on the American south, success, the patrons?
9. Michael, the fight with Matteo, his seeing him with Isabella?
10. The final revelation of the truth, and discussing with the cab driver, her leaving, Michael coming in pursuit, the whole family present, welcoming her back?
11. Her place in the family, living in Italy, contacting Claire, the months passing, and finding her place in the town and within the family?

ARE YOU THERE, GOD? IT’S ME, MARGARET

US, 2023, 106 minutes, Colour.

Abby Ryder Fortson, Rachel McAdams, Kathy Bates, Benny Safdie, Elle Graham, Amari Alexis Price, Echo Kellum.

Directed by Kelly Craig

This was the title of the very popular novel from 1970, written by Judy Blume. It has continued to be popular, especially with the young readers. 50 years later it is now become a popular film, well reviewed.

The Margaret of the title at the opening of the film is aged 11, having to move to New Jersey from New York, missing her friends. However, as she grows older, she makes many more friends, school, all kinds of issues as the girls near puberty, especially anticipation of their period. In this way, the film will speak to young girls in the audience of this age.

However, Margaret also speaks to God, conversation, requests, puzzles, losing faith in him, questioning, ultimately regaining faith and making communication again.

Margaret also has a challenging faith background, her Christian mother, played well by Rachel McAdams, her father, played by writer-director, Benny safety is Jewish. And Kathy Bates is present as a strong-minded grandmother.

With the difficulties, Margaret is it helped by one of her teachers, Mr Benedict, who listens to her questions and suggests that her year research be on religion, religious issues, different faiths.

This makes the film is significant for the younger audiences, especially the girls in the audience, identifying with Margaret, but having the possibility of opening up their own religious issues as they watch the film.

Abby Ryder Fortson is persuasive as Margaret.

1. The popular book by Judy Blume, 1970s, popular for half a century, the film version?
2. The New York City setting is, the New Jersey settings, the suburbs, homes, school, outings, celebrations? The range of songs from the 1970s, tone, comment?
3. The New York situation, Margaret, 11, happy at school, returning from the camp, her loving parents, her father’s promotion, Sylvia present, her attitude, breaking the news of the move, her parents’ reaction, Margaret’s reaction, Sylvia always sardonic?
4. Margaret’s reaction, not wanting to move, also friends? The transition, the farewell, arriving in New Jersey, the atmosphere, the house?
5. Margaret at 11, no brothers or sisters, devotion to her grandmother, no mention of her mother’s parents, the religious issue, Jewish or Christian, leaving it for Margaret to decide? Her image of God? End of primary school, grade 6? Expectations?
6. Nancy and her arrival, confident, taking over, invitation to Margaret, at school, the next desk, Mr Benedict, the attention to Philip, despising of Norman, criticisms of Laura? Nancy in the club, the creating the rules, the 11-year-old’s perspective, boys, secrecy, wearing a bra, no sox (and Margaret’s blisters)? The meetings, the gossip, the giggling, the issue of wearing a bra, the chant for the bust? Nancy’s brother and Moose breaking in? Margaret and her attraction to Moose, his mowing the lawns?’
7. Barbara, loving mother, absent parents? The story of the parents, evangelical, condemning her for marrying and you? Margaret asking the questions, Barbara telling the story, sending the card, their reply, the coming to visit, the clash with the visit to Florida for Sylvia? Sylvia and her friend arriving? The interactions, the meal, the mother being evangelical, Sylvia’s reaction, the fighting? Margaret’s reaction, not believing in God?
8. Margaret, religion, her comments on her paper for Mr Benedict, his discussions with her, her project, her later writing him the letter, his sympathetic ear?
9. The issue of God, the dialogue of the film, Margaret and her manner of discovering God, talking to God, asking whether God was there, the issuance and the various crises, especially about the period, her friends, the boys, the relationship with God? Her going to the revival meeting with Janie? Earlier taking her to the synagogue, its style, Sylvia enjoying the ceremony, Margaret and the Hebrew? Going to the Christian church, the Gospels? Laura, and going to the confessional?
10. The bond with Sylvia, the phone calls, going to Gilbert and Sullivan in the park, invitation to Florida? Sylvia and her life in Florida, the boyfriend, ringing him to New Jersey?
11. The issue of bras, her wanting to buy one, with her mother, the shop? The other girls and the issues? The issue of periods? Gretchen and the suddenness, the reaction? Laura and her lie about her own, then the crisis in the restaurant? Janie is a good friend, buying the pads? And then her own period, with her mother?
12. The preoccupations about sex, the anatomy book and the discussion, the Playboy photos? The reaction to the boys? Nancy and her attitudes, Philip, the game and spin the bottle, Norman’s house, two minutes in the closet, Margaret with Philip, his kiss, and later disillusioned with him? Her attraction to Moose? The visit to radio city music Hall?
13. The portrait of Margaret’s parents, her father, his job, benign, the accident with the mower, easy-going, relationship with his mother? Barbara, always nice, supporting her daughter, supporting her husband, giving up her artwork, teaching, the household, not good at cooking, volunteering for all the committees at the school? The situation with her parents and their visit?
14. Margaret, coming through the trials, going to the camp, rediscovering God?