Displaying items by tag: Peter Malone's Movie Reviews

IN THE GREY

UK/US, 2026, 98 minutes, Colour.

Henry Cavill, Jake Gylenhaal, Eliza Gonzalez, Carlos Bardem, Michael Vu, Fisher Stevens, Rosamund Pike, Kojo Attah, Jason Wong.

Directed by Guy Ritchie.

A thriller set in the world of high finance, in the space between the black-and-white of law and disorder, in the grey. And quotations  come to mind, “the love of money is the root of all evil” and, for players like mercenaries, playing “for love of the game”.

25 years of action shows have been written and directed by Guy Ritchie, moving initially from low crime, Lock, Stock, Two Smoking Barrels, through a range of underworlds to the world of Gentlemen criminals. And, now a worldwide, international perspective.

Though Ritchie’s world has been largely a world of men, on both sides of the law. This time, the main player is a woman, Rachel, played with glamour and aplomb by Eliza Gonzalez. And, in the corporate world, she confronts a female executive, played incisively by Rosamund Pike. But, in a man’s world, Rachel still has to be rescued!

The villain is the dictator, Salzar, his Island, his own army, yacht luxuries, his own plane, wheeling and dealing in finance with his own crooked lawyer, his murderous henchmen. But, Rachel also has her team, two buddy mercenaries she has rescued from prison and who are loyal to her, played by Henry Cavill and Jake Gylenhaal, very cool in crises, but always smart and coming to the rescue. And, a retinue team of experts in surveillance and logistics.

And, all this is necessary, because Rachel will confront the dictator, continually successfully, using the power of law. But, he will capture her and she will need to be rescued – the first part of the film elaborates setting up the plan if she needs an escape route; the second part of the film going into the actual detail of the escape.

Made for entertainment, dipping into the world beyond most people’s imagination of international finance and doubledealing, but skills in confrontations, and always at the ready, and weapons galore, an action show.

1. The root of all evil, a love of money; love of the game?
2. Guy Ritchie, his reputation, crime thrillers, action? Now international finance?
3. The credibility of the plot, real aspects, heightened aspects? Intrigue, action?
4. The situation, world finance in the 21^st-century, banks, finance companies, dictators? Ruthlessness? Use of the law, private armies, the world of luxury?
5. The role of men and women, Rachel as the lead, strong character, ingenious, planning, in action, confrontations? But still needing to be rescued! The financial world, New York, Bobby, her power, manipulation, confrontations?
6. Salazar, his being threatened, his henchmen, the murders? The repercussions for the finance company?
7. Rachel, her confrontation with Bobby, the issue of the deal, the fee, her hold over Bobby? The final confrontation, the phone ringing?
8. Horowitz, and manner, regularly visiting him, the office, interactions, Bronco present, fiddling with the statue, the microphone? Verbal gameplaying?
9. Bronco, Sid, in prison, the release, Rachel freeing them, mercenaries, their skills, her dependence on them, their dependence on her, the plans, execution, the range of staff, surveillance, Logistics?
10. The plan, Rachel and Salazar, the continual encounters, Salazar being outmanoeuvred, his yacht and luxuries, finally agreeing?
11. Rachel in the desert, the camp, the attack and killings, imprisonment, her watch, summoning the mercenaries?
12. In prison, the plans, the first part of the film and rehearsal, the attention to minute details, vehicles, across the valley, the boat? The second half of the film, everything being fulfilled?
13. Rachel, the escape, action, the helicopter pursuing, shot down, Baker and the explosion, the escape to the boat?
14. Rachel, success, Bobby defeated, her boss exposed? Ready for the next action?

IT TAKES A VILLAGE/ PODLASIE     

Poland, 2026, 96 minutes, Colour.

Anna Seniuk, Artur Barcis.

Directed by Lukasz Kosmicki.

This film is a sequel to the popular polish comedy drama, No Pressure. The central characters are back again.

This is a Polish kind of comedy, polished style. Tone is set with the opening, a wedding, everybody running late, including the parish priest, everybody in a rush. Then the emergence that the wedding is between two elderly members of the community – and, dramatic tantrum during the wedding and the groom left at the altar.

All kinds of complications, focusing on Halina, the grandmother, making cheese, losing money on loans, embarrassed, calling off the wedding. The other character is Jan, a talented sculptor in the village. And, as always, a whole lot of minor characters standing around, becoming involved, farmers, the policewoman, a rather simple man who gets involved in all kinds of business and emotional tangles.

The main part of the film is the sculptor deciding to help Halina financially by creating circle crops and publicising aliens visiting the village, welcoming tourists and selling the cheese… And more than a few complications there.

And, emotional complications, the return of Halina’s daughter, an artist, and her contribution to settling the difficulties, and her daughter running the restaurant with her husband

Very much a European comedy, a lot of polish traditions, pagan rituals, Catholic traditions, strong-minded characters, some shady dealings – but, of course, a return to the opening, everybody running late for the wedding, but the wedding a success.

1. Sequel to No Pressure, characters, situations?
2. The title, small towns, communities, everybody participating, friendships, entities, rivalries? But, with the comic touch?
3. The views of the town, the countryside, the visuals, the marriage ceremony and the ruined church, homes, restaurant, cheesemaking, the fields and the crop circles, the markets…? Musical score, songs?
4. The opening, the wedding, everybody late, rushing, bridesmaids, police, the priest and the altar servers, his concern about the collection plate? Audiences thinking the young couple to be married, discovering that it was Halina and Jan? The role of the priest, his comments, his being part of the village life, the Catholic rituals, Halina and her reaction, hesitation, Jan and his love for her, her pretending to faint, the bridesmaids taking her away, the wedding off, the revelation about the finances, and his investments?
5. The reaction of everyone at the wedding, calling it off, Halina and her daughter, the restaurant, the daughter’s husband, their concern?
6. Jan, his age, sculptor, his range of sculptures, including Halina, Angel? Hopes? The friendship with Wojtek and his mixing everything up?
7. The financial situation, secrets, everybody wanting to know? The revelation of Halina taking an extra loan, the large debt? Her pride, wanting to pay back, making the cheese? Selling the cheese? The decision to sell the family land?
8. The arrival of her daughter, artist, sketches, her painting the mural, contact with her daughter, clashes with her mother, her daughter’s father-in-law and the friendship, possibilities? Wotjek and his infatuation, admiring her, imagining her, singing, posing for the mural, her having to speak directly to him?
9. The plan of the crop circles, aliens, Jan’s idea, the tourists to come, to sell the cheese? The visuals of the circles? Theories of aliens? Wojtek and his filming everything? The tourists arriving, the range of tourists, the touch of gullibility as well as curiosity, the children, parents, selling the cheese, selling the pies?
10. Julian, the complications, Wotjek filming the couple, reporting Jan? The flashbacks, Halina and the dance, drinking, the night? Julian arriving, proposing, taking them into the countryside, caught in the bowl, Jan confronting him, getting the force and getting out, confronting Halina? Julian’s return, Wotjek and the traditional rituals, pagan origins, celebrated in the town, Julian drinking, wandering, his offer to buy the land? The final meeting and his wanting to escape?
11. Halina, the ups and downs, her temper, discussions with Jan, learning the truth, wanting to sell the property, then wanting it for her daughter and family, her daughter ringing the New York agent, the plan for selling Jan’s sculptures?
12. The happy ending, Jan and Halina together, the marriage ceremony and the repetition of everybody being late, including the priest, suggesting the young couple also marry, the gathering, the photos, the problems with the restaurant, cooking, the wife and losing her taste, the revelation about pregnancy?
13. The role of the priest, from the town itself, part of the culture, knowing everybody, longtime parish priest, preoccupation about money in the collection plate, the selling of the cheese and his wanting some funds for the church, Jan collaborating with him, his being present at the wedding dinner, in the fields with the crop circles and his comments, promoting them, part of the community, and the final wedding, his comments about the kiss to be left for the wedding night, a Polish view of country clergy?

THE BASKETBALL FIX

US, 1951, 65 minutes, Black-and-white.

John Ireland, Marshall Thompson, Vanessa Brown, William Bishop, Hazel Brooks, Johnny Sands, Bobby Hiatt, Walter Sande.

Directed by Felix E. Feist.

A small supporting feature from 1951, reflecting some of the nervousness of American society and young people in this immediate postwar period. And the focus is on basketball.

The film is narrated by a top sports journalist played by John Ireland, and an opening indication that his young protégé has become involved in some sport fixing. The rest of the film is in flashback, Marshall Thompson as the youngster, top basketball player, father ill, caring for his young brother, playing games, the training, but trying to get jobs to make ends meet. He is pleasant, well mannered, the ideal type of young man in 1951.

The film shows his career, the offers of scholarships, the top coach, the training and future prospects for playing for the state. However, he is introduced to a smooth talker and his wife, in the betting business, illegal betting, the fixing of matches, not necessarily defeat, but betting on the extent of the win, the process of “shaving points”.

A lot of temptations and pressure from the entrepreneur, his resistance, falling in love with the young woman, caring for his brother, scraping the jobs, but even having to borrow from his girlfriend to pay for the cups of coffee on an outing. He stands up for himself, continually walking out on the temptation, but finding his close friend succumbing to the lure of the money. And, he falls, is able to buy an expensive ring for his girlfriend, observed by the jewellers, contact with the police, and, despite his intentions of doing the right thing, arrested, along with his friend and the entrepreneur and his wife during the final match.

The moral commentary is in the behaviour of the young man, temptation, succumbing, wanting to do the right thing, and his being taken away – the commentary of the journalist but leaving the impact of his behaviour and consequences to the audience.

MOTHER MARY

US, 2026, 111 minutes, Colour.

Anne Hathaway, Michaela Cooel, Hunter Schaefer, FKA twigs, Jessica Brown Findlay.

Directed by David Lowery.

What would most audiences, seeing the title, Mother Mary, b is e expecting? The Christian overtones of the title are visualised in Mary, the popular singer and her concerts, her dresses, headdress with rays, reminders of Mary, Mother of Jesus. And, throughout the film, there are verbal references, in conversation, and in the songs, to the Spirit, Pentecost, faith, belief…

This is a weird experience, to say the least. And, some audiences have felt it too much, too confusing, the verbal, visual weirdness.

In fact, this is a psychodrama, a two hander encounter between two strong actresses in two strong performances, Anne Hathaway as the popular singing star, Mother Mary, and British Michaela Coel (also confronting Ian McKellen in The Christophers) as Sam Anselm, longtime dressmaker, now alienated from Mary.

Mary is desperate, an accident in performance (deliberate or not?), Emotionally disturbed, offering to apologise to Sam, requesting her best address for Mary’s London comeback, reinstating her as a star.

There is a lot of psychological to-ing and fro-ing, some serious game-playing, Sam generally in control, hurt by Mary in the past, alienation for twenty five years, once an avid fan, now Mary eliminated from her life, but intrigued, affronted, by Mary’s arrival and request for the dress.

Mention is made of metaphors and there are many of these, visualised, in word and in rituals, interactions of psyches, interactions of imaginations, floating, swirling red material, ingested, excised… A dark ritual, a circle drawn, echoes of magic and exorcism.

Fans of popular stars may relish this strange exploration of a singer and her relationships. Writer-director, David Lowery, noted that he was drawing on the impact of Taylor Swift. Anne Hathaway referred to Beyonce as an influence on her performance. And, significantly in Anne Hathaway’s recent film, The Devil Wears Prada 2, there is a powerful sequence between Meryl Streep’s Miranda priestly and Lady Gaga about a performance at a fashion show. Some of the songs for Mother Mary were written by Charli the XCX  who was also the subject of a film about a singer and her career, the moment.

With the popularity of such stars, this film offers a great deal of appeal, an invitation to go behind the scenes, go behind the faces, go behind the facades, wondering what they will find -perhaps weirdness and truth.

1. The application of the title, the Virgin Mary, Catholicism, spirituality, statues of Mary, images, garments, head raise…?
2. The world of international stars, singers, concerts, application Taylor Swift, Lady Gaga, beyond say? Songs by Charli XCX, the presence of FKA twigs?
3. The range of songs, the lyrics, the musical score, performance, elaborate costumes, choreography?
4. The film as a dramatic two hander, Mary and Sam, memory and hurt? The presence of the supporting cast, friends, the assistant, the dancers?
5. The film as a psychodrama, the human psyche, sanity, emotions? Physical, health? The use of the imagination? Metaphors and symbols? The words describing them? Actions? Visual symbols?
6. The realism and the images, the red material, floating, absorbed, cut out, extracted, final floating? Panic and liberation?
7. The final ritual, the touch of the supernatural, application of exorcisms?
8. The relationship between Mary and Sam, 25 years, the bonds of the past, celebration, the dressmaking, Mary and her success, Sam and enthusing? The break, the separation, the hurt, the image of the broken tooth and extraction? Mary returning after so long?
9. Mary, as a character, celebrity, enjoying her celebrity, singing, dancing, composing songs? 25 years? Falling out with Sam? The reason for her visit?
10. Sam, in herself, her work, the office, the big barn, its layout, the mannequins, materials? As a fan of Mary, addresses and success, the tooth, the break,?
11. Mary’s arrival, the encounter with Hilda, the final meeting with Sam? Their talking, Sam and her hurt, distance, psychologising Mary, taunting her, the questions, her wisdom, the use of symbols, rituals, the issue of apology?
12. The request of the dress, the aftermath of the accident, intentional or not, the fans, the dress, the idea of the train, all the images from her concerts and life? The to-ing and fro-ing of the argument? The psychological implications of the dress? Moving towards reconciliation, friendship, the ritual, the making of the dress – or no reconciliation?
13. The impact of the ritual, the two women, the circle, the incision, the blood, the drawing out of the material, healing?
14. The finale, Mary and her performance, the dress, removing it? Hilda describing the event to Sam?
15. And, the final threefold apology?

SATOR

US, 2019, 85 minutes, Black-and-white and Colour,

Michael Daniel, Rachel Johnson, Aurore Lowe, Gabriel Nicholson, June Peterson, Wendy Taylor.

Directed by Jordan Graham.

An atmospheric film, filmed over a long time by the writer-director, Jordan Graham, his grandmother appearing in the role of the grandma, some of her dialogue based on her own feelings and perspectives on the supernatural. He built the hut which is used for the film. It is definitely his film.

The setting is the backwoods of the US, some wonderful scenery in daylight, a lot of the atmosphere in the forest at night in the dark. There is a mysterious character, Adam, who does not speak a great deal, wanders in the forest, searching.

But, this is all introduced in black and white, the words of the grandmother, her writing them down, indicating her awareness of Sator and the influence in her family. The film was shot in black-and-white, ordinary framing and traditional box framing, interchange throughout the film, but the flashbacks of introducing the characters, the members of the family, the past, interactions, grandmother reminiscing even though becoming forgetful, all in black and white.

There are three principal responses to this film.

The first, the reaction of many who come across it, and many of the bloggers on the IMDb, finding it boring, incomprehensible, and give up.

The second, especially for movie lovers who appreciate cinematography and editing, the response is simply to stay with it, observing, not necessarily understanding, but relishing the cumulative effect of the cinematography, the mystery, the behaviour of the characters…

The third is to stay with the film, acknowledging how slow burn it is, puzzling as to the characters, motivations, behaviour, the interactions of the family, the mystery of the past, the grandmother and her experiences and communication, perhaps finding a lot of it tedious or boring, but waiting to make some kind of comprehensive response to it at the end.

And, for those wanting some assistance, the Wikipedia plot summary offers a great deal of detail to help with understanding and appreciation.

SINNERS’ HOLIDAY

US, 1930, 61 minutes, Black-and-white.

Grant Withers, Evalyn Knapp, James Cagney, Joan Blondel, Lucille La Verne, Noel Madison, Warren Hymer..

Directed by John G. Adolfi.

This film’s main claim to distinction is that it is the first film with James Cagney, immediately alive and energetic as in so many of his roles for the next 50 years (but actually winning his Oscar as song and dance man and composer, George M. Cohen in Yankee Doodle Dandy, 1942).

The film is a supporting feature of 1930, only three years after the introduction of sound, but very effective in its casting, performances and editing. The main star is Grant Withers, a bit over acting here as the hero with a prison past but in love with the daughter of the manager of the Penny Arcade. She is played by character actress Lucille la Verne who had the distinction of being the voice of the wicked stepmother in Disney’s Snow White. Evalyn Knapp Is the pleasant romance interest, while Joan Blondel, as often during her 50 year career, plays the wisecracking girlfriend.

The film is played on the boardwalk, lots of attractions, sideshows, but also clubs and gangsters. Lucille la Verne is the dominating and protective mother of the heroine, of James Cagney and another brother. She has faith in James Cagney who is mixed up with the gangsters, easy-going, lying without any problem, ultimately confronting the main gangster who has just been released from prison, guns pulled and the gangster dying, Cagney considering him in a store, covering up, getting Joan Blondel to corroborate a false alibi, but his sister having watched the whole thing, initially trying to protect him, but when Grant Withers is about to be arrested, her revealing the truth.

And in two years, Cagney would-be Public Enemy, and gangster film star, on screen for the next 50 years.

FRANZ

Czech Republic/Poland, 2025, 127 minutes, Colour/Black and white

Idan Weiss, Peter Kurth.

Directed by Agnieszka Holland.

The reputation of Franz Kafka, writer, thinker, has increased over the decades. There is admiration for his writing, his novels and short stories, bleak explorations of human character. Steven Soderberg directed the imaginative exploration of his life and character, Kafka.

This film has been directed by veteran Polish director of many decades, Agnieszka Holland. It is certainly a portrait of Kafka. It has basic biographical elements. But it is also a thoughtful study.

And, the treatment of Kafka, his character, life and career, is highly stylised. There is use of  colour and black-and-white photography. There is musical background. There are different timelines, the continual moving around in time, backwards and forwards in his life. And, at times characters look to camera, inviting the audience to respond and reflect.

Quite a number of characters also offer commentary, the blind organist, his friend Max Brod who saved his manuscripts from the Nazis when Kafka had asked them to be burnt.

And, surprisingly, at different times the screenplay moves into the 21^st-century, admirers and tourists at the Kafka Museum, the guide, commentary, monuments to Kafka, explanations of his career, writing, and commercial aspects like the Kafka meal at the restaurant.

Which means that the audience is continually changing its perspective, building up an image of Kafka as a little boy, his large dominating father, testing him. Kafka as an adult, the law, as a clerk, his work as a civil servant. And his writing, what his father called scribble, writing stories by hand, novels, an opportunity to read a story aloud (and the graphic torture story being visualised), different reactions, collaboration with friends. And, the film also focuses on his relationship with women, sexual, friendships, love.

There are also issues of belief, his Jewish background, the ghetto in Prague, demolition rebuilding, questions of faith and lack of faith.

This film does not offer a complete portrait of Kafka – but it may be a provocation for audiences to find out more about him, read his books, see film versions of his books like Orson Welles’ The Trial, discover his influence on 20^th century thought.

1. Franz Kafka, life, career, author, philosopher? Audience knowledge of him, his reputation, achievement?
2. The city of Prague, 19^th century, into the 20^th century, changes, ghetto and rebuilding? The city of Vienna? The experience of World War I? The use of colour, black-and-white?
3. The film as a portrait, as a biography, piecemeal episodes, the timeline moving back and forth, the effect?
4. The stylised filmmaking, actors talking to camera, the modern era, the 21^st-century museum, the tourists and their behaviour? Monuments to Kafka? The effect?
5. As a child, his haircut, his father putting him outside to strengthen him, throwing him into the water to swim, the influence of his father, his father’s character, his mother standing back, later support, the strong support of his sister? The family meetings, meals, his brother-in-law and the company?
6. As an adult, at home, moving out, the relationship with his father and brother in law, the law, as a clerk, working on contracts, his father’s commands and anger, his volunteering to meet for contracts? The contrast with his writing, by hand, his father referring to his scribble? His imagination? Publication?
7. Kafka and his working and his career, his writing? The episode of reading his story and its being visualised, the torture sequences? Audience reaction?
8. Max, friendship, writing, later, the burning of His manuscripts on his order, not burning them, preserving, with his wife, the Nazis and his concealing his identity and the papers?
9. The variety of characters, commentary and explanations, his uncle, the blind organist, teacher, Max, friends?
10. Jewish issues, Prague and its being rebuilt, the discussions about Judaism,?
11. The importance of particular incidents, the scene with the coin and the begger, wanting change, sister’s intervention? The role of insects, his father at the table, insects and his stories?
12. Relationships, sexual, genteel with the prostitute, meeting Felice, the conversations, his descriptions of her, in Vienna, correspondence? The encounter with Grete, her liveliness, the relationship And his enormous capacity for letter writing, so many a day?
13. Issues of health, his swimming, rowing, the sanatorium, the exercise, the naked men, his participation?
14. Issues of faith, discussions, existential?
15. The overall impact of the film, Kafka as a person, as a writer and creator, complexity of character?

REMARKABLY BRIGHT CREATURES

US, 2026, 111 minutes, Colour.

Sally Field, Lewis Pullman, Colm Meaney, Joan Chen, Kathy Baker, Beth Grant, Sofia Black-D'Elia, Donald Sales, voice of Alfred Molina.

Directed by Olivia Newman.

The remarkably bright creatures in this story are sea creatures, especially an octopus who spent over 1000 days out of the ocean, now in the display in the aquarium. His name is Marcellus, and he is a central character here, telling the story of his life in the voice of Alfred Molina, making comments about the humans and their limitations and the superiority of sea creatures.

While the humans in the story may not be as remarkably bright as the sea creatures, the audience will find themselves identifying more and more with two of them.

At this stage in review, it is probably important to note that this is a film for audiences who enjoy feelings, emotions, not afraid to run the risk of sentimentality. Which means that it is definitely not for audiences who have more serious attitudes towards life and emotions, thatnthey are not really for display, especially in films like this.

This having been noted, Remarkably Bright Creatures will engage most audiences. And there is Sally Field, almost 80, 60 years of top-lining film and television, a widow in a small town on the US north-west coast, keeping busy as she cleans the aquarium, chatting to Marcellus, revealing her sadness, especially in the loss of her son. The other main character is Eric, Lewis Pullman, something of a drifter, with a band, the other members pulling out, his being stranded in the town, no money, helped by the sympathetic storekeeper, Ethan (a genial Colm Meaney) and getting a job to replace Tova at the aquarium.

We observe. Marcellus observes, all this. Eric is not very good and Tova takes him under control cleaning detail. And she has to make decisions, offered a place in an aged care centre, whether to sell her house, urged on by her longtime gossipy friends, but, all the time wondering about the death of her son.

We enjoy the bonding between Tova and Eric, also some stories about Ethan and his devotion to Tova, Tova learning more about her son and his past.

And, for audiences who love sweet endings, and more than a touch of cheerfulness, the ending here they will find one of the best.

1. The title and expectations, tone? And the sea creatures, seen underwater, seen in the tanks, the focus on the octopus, devil eel?
2. The small town setting, on the coast, American north-west, weather, atmosphere? The aquarium, display, the children, behaviour, licking the glass,, leaving the mess? Tovs and the cleaning, so much of the action in this space? Her home, the views, the town itself, shops, the streets, atmosphere? The musical score?
3. Marcellus, the octopus, the voice of Alfred Molina, the commentary, his life story, captured, counting the days, his life coming to an end, his observations about humans, the skills of an octopus, superior, his sympathy for Tova, reaction to Eric, gradual sympathy, intervening? His escapes, Tova rescuing him? Finally, his observations about the friendship, the future, Tova and her rescuing him, returning him to the sea? And the rescue of the next octopus, the background story, the continuity of the display?
4. Tova, Sally Field’s presence, her story, her age, love for her son, the clash, his going out in the boat, the finding of the boat, the speculation that he had committed suicide? Tova and her searching for a reason? Over the decades? And the death of her husband? Living alone, managing, keeping busy at the aquarium, the phone calls, the offer of the room at aged care, her finally agreeing? Her friends, the meeting, all the gossip, their personalities, trying to organise Tova, the lunch, the daughter arriving, Tova asking her for the yearbook, encounter with the couple to buy her house, indication of a name, finding the name? The son and his girlfriend?
5. The decision to sell the house, the agent, pressing the house, the preparation for sale?
6. Eric, driving into town, car failure, not enough money for repairs, the encounter with Ethan, his store, kindly, suggesting the job, going to the aquarium, the discussions with Terry, Tova and her breaking her ankle, needing replacement at work, her criticisms of Eric, the detailed explanation of how to clean? And Marcellus observing?
7. Eric, the band, his ambitions, his absent mother, the flashbacks, no explanation of his father? The phone call, the band members, the pregnancy, pulling out? His surviving in his van? The encounter with Avery, the attraction?
8. Gradually bonding with Tova, her becoming motherly, reprimanding, teaching, encouraging the date, their walking, talking, the effect on him? The outing with Avery, the paddles, the discovery that she had a son, his reaction and moving away?
9. Ethan and his devotion to Tova, setting up the dates, his telling his story and following bands, the awkwardness, spilling and stains? Eric explaining things to Tova?
10. The ups and downs of the relationship, Tova and her moods, the move, the gossip from her friends, concern about her son, Eric fixing the house and her ousting him? His finding the box under the floor, the photo?
11. The significance of the ring, Eric with his father’s ring, the phone call to the suspected father, difficulty tracking him down, eventually meeting him, the fact that the man was gay?
12. The importance of the reading, EEL, Marcellus and his intervention, Tova seeing it, her son’s name, and a realisation for Eric who his father was, for Tova?
13. The future, mother and son, life together…?

CARRY ON CONSTABLE

UK, 1960, 86 minutes, Black and white.

Sid James, Kenneth Williams, Eric Barker, Kenneth Connor, Charles Hawtrey, Leslie Phillips, Joan Sims, Hattie Jacques, Shirley Eaton, Cyril Chamberlain, Joan Hickson, Irene Handl, Esma Cannon, Terence Longden, Jill Adams, Victor Maddern.

Directed by Gerald Thomas.

One of the earliest of the Carry on series, two years after it began, the atmosphere of British filmmaking in 1960, popular comedy, the transition to the more permissive 1960s. In the retrospect of the later films, Carry on Constable seems comparatively innocent certainly some sexual references, some shower and bathroom scenes, some ogling by the male stars but, in comparison with later films, rather more of the light touch.

In fact, the film was written by the writer of the earlier Carry on films, Norman Hudis. Then there was a transition to Talbot Rothwell who scripted most of the Carry on films, more explicit with sexual themes, a great deal of innuendo.

This was the first Carry on film with Sid James, rather more straightforward role, sometimes sympathetic, but he was to develop into the chuckling lecherer during the 60s and 70s. But, it is pleasing to see so many of the regulars in this film, the two Kenneths and Charles Hawtrey, much more explicitly gay in this film than later, especially with the cross dressing of Kenneth Williams and Hawtrey, Hawtrey even passing passably for female.

Joan Sims and Hattie Jacques are happily present and there are a whole number of guest female stars, young like Shirley Eaton, three years before Goldfinger, and Jill Adams, and veterans like Esme Canon as a deaf old lady trying to cross the road, Irene Handl erupting about a misbehaving boy, and, especially, two scenes with Joan Hickson as an aristocratic alcoholic showing her as an excellent comedienne as well as dramatic actress, later Miss Marple.

Eric Barker, doing his usual shtick as a befuddled authority, is in charge of the police station and employing four new recruits, the two Kenneths, Charles Hawtrey and, appearing in several of the Carry on films, Leslie Phillips.

A whole lot of farcical situations in the office and a succession of muddled police activity with special sequences for each of the four, their own kind of comedy which was to develop during the success of films.

Popular and easy humour, easy to watch.

THIS BLOODY COUNTRY

US, 2025, 102 minutes, Colour.

Martin Dingwall Wall, Maggie Gwin, Larry Cedar, Jacob Ward, Rainey Qualley, Cameron Meyer, Georgia Coles.

Directed by Craig Packard.

An American film, a western theme, the title does not sound like American idiom. Rather, Australian. And, this is right because the central character is Australian, brought up there, but living America, keeping his accent and his idiom.

The year is 1869. The Civil War is over. Pioneers are moving west and south-west. There have been many films with this theme, the group, the guide, moving through difficult landscapes, continued threats, gunslingers, and the issues of the Native Americans and their territories.

The difference with this film is that it has a central religious theme. The main characters are Mormons. They have set out from Salt Lake City to establish a new town in Arizona, called Grace. While there are the dangers and difficulties associated with this kind of story, the emphasis is on the group, small, a Mormon family, the patriarchal leader, three wives, his brother, the various children. And, travelling on foot, walking all the way, pulling the carts and loads, camping by night.

And the Australian character? His name is Ned Campbell and he is played by Martin Dingwall Wall. The scenario has him living in the United States, a security guard, a sometime Pinkerton detective, now contracted to accompany the group, protect them, guide them to their destination. He is not a religious man but is committed to his contract.

There are some action sequences. A group of gunslingers arrive, pretending to ask for food and water, declaring themselves unarmed, but Ned has a violent background, suspicious, ready with his gun, and shoots the men – but one, getting away, rounds up a posse on horseback to track the group down. The pressure is on the group to move as fast as possible, create a distance, walk day and night, exhausting because it is mainly the women who actually pull the carts the possessions and the supplies.

The men do return and the issues are raised about violence, Josiah (Larry Cedar), the patriarch, an arrogantly preumptuous character, (and its being revealed that he was sent away from Salt Lake City because of his overpowering personality), arguing that the women should not have access to guns. As with other issues during the trek as regards authority, the role of the guide, the role of the three wives in terms of service, household duties and sexual relationships, his patriarchal attitudes are continually challenged.

Ned plans the confrontation with the gunslingers expertly, everyone shooting. And there is an episode with the Native American, Josiah manifesting himself religiously racist.

The range of locations for the journey offers some spectacular scenery, all filmed in Utah. The elements of the pioneer Western are here but, ultimately, the focus is on the Mormon family, their faith, religious practice, convictions, the role of the patriarch, the situation of polygamy for women, and the audience responding with their own feelings, especially towards Josiah, as well as looking at and assessing this community through the eyes of Ned Campbell.

A thoughtful Western.

1. The title and tone, Australian idiom? The central Australian character?
2. An American film about pioneers, 1869, from Utah to Arizona, the terrain, landscapes, desert, mountains, the dangers, gunslingers, Native Americans, animals…? The musical score?
3. The background of the Mormons, Salt Lake City, central authority Utah, setting up the mission for Arizona, the town, Grace?
4. Josiah, his friendship with the founder, an elder, hard, patriarchal, sent away from Salt Lake City, his three wives, his brother, the children? The hardships, pulling the carts, the women pulling, offloading furniture, the death of the child the burial, faith in the afterlife, and her grieving?
5. Ned Campbell, Australian, in the US, security guard, Pinkerton Detective, taking on the role of guide, age, personality, tough, walking, guns?
6. Establishing the dynamic of the family, Josiah, his age, authority, patriarchal, misogynist, religious fervour and superiority, his dismissal of the savage Native Americans, his attitudes towards the women, the household duties, sexual relationships? His attitude towards his brother, dominating him?
7. The women, the three wives and their personalities, the daughters and their religious names? The personalities, age, their roles, the household duties, the wife especially for the sexual relationship, the behaviour of the children, the defiant daughter and outspoken? The religious justification for Josiah as part patriarchal behaviour?
8. The arrival of the three gunslingers, asking for food and water, saying they were unarmed, Ned, his harsh attitudes, shooting, discovering the guns, the one that got away? The continued apprehensiveness that they would be pursued, men on horse? The repercussions for speed, walking during the night, Josiah and his demands, Ned confronting him, the women weary, children? Ned and his insistence?
9. The issue guns, Nat and his volunteering, his brothers putting him down, Ned insisting, the target practice, Nat and his accuracy? The later issue of the guns of the women, the patriarch forbidding it, the rebellion, the practice and their skills?
10. Ned and his stories, talking to Bat, Nat and his gun practice, Ned and his past, the confrontation, shootings, the number of deaths? And Nat’s reaction when shot, his comment about having a story to tell?
11. The old man, his coming to warn them, suspicious, Nat shooting him, the aftermath and his conscience?
12. The final arrival of the men on horseback, the strategy, hiding in the valley, taking cover, the men and their confidence, rapacious attitudes, the confrontation, their being killed, the man with the horses, his coming in shooting, Nat shot?
13. The issue of the Native American, Josiah and his dismissal, religious and cultural superiority? Ned, going to meet him, the discussion, the warning not to travel through the Indian land? Josiah and his dismissal of this opinion?
14. Lilith, her personality, different from the other wives, relationship with Josiah, with the girls, the death of her child and burial, the mourning? The attraction to Ned? Her consumption, with the other women, the final confrontations, her taking Ned’s side, his confiding in her, her keeping guard through the night? The bond, but her farewell?
15. Ned, his presence, as a guide, the episode of the swimming hole, Lilith seeing him? His response to her? The clashes with Josiah, response to the other members of the group, urging them to walk to avoid the gunslingers, the clash and his walking out, his return, fulfilling his contract?
16. The group arriving, setting up the town? Josiah and the women telling the truth about his authoritarianism, the future of the town?
17. Ned, his dream, wanting to go back and settle?