No. 48 (2022) THE LAST EXECUTION (NAHSCHUSS) German Film Festival June 19th.

 

Film No. 48 (2022)  June  19th.  4.40 PM   Cinema 5.  LUNA,  Leederville.

 

"It is a Biro ring. Every time you shower you can draw a new one". (Corina explains to Franz that he needn't buy her a ring. They simply draw a new ring on their finger after washing. They shall always be linked by a Biro ring).

THE LAST EXECUTION is the re-enactment of the series of unfortunate events in communist East Germany which led to the execution (the last in DRG) of Professor Werner Teske in 1981. Here, his fictional name is Dr Franz Walter but make no mistake, it is Teske's story.

Execution? Professor? Germany? 1980/81? I hear you ask. It is all true. Just another of the dastardly stories emanating from East Germany between 1946 and 1989, ending with the demolition of the wall separating East and West Berlin . 

The gritty retell has Lars Eidinger playing the luckless academic, minding his own business, hopelessly in love with soon to be wife Corina (Luise Heyer) being offered a job he couldn't refuse by The State. He soon finds out The State operates as a persecutor at a depth he is soon drowning in. He needs to confide, but, who can he trust? How does he escape to the west? Will he be to able exit in time? You guessed it, NO!

I'm of an age, when some stories from the DRG amounted to major human rights issues. The Iron Curtain was just that. The stories of supposed executions and people going missing were veiled in secrecy. NAHSCHUSS sheds a little light on the numerous executions that occurred not so long ago. There is nothing feel-good here. I walked from the cinema with a sick, sad empty feeling. 9GUMS.

 

         

No. 49 (2022) ELVIS June 20th.

 

Film No. 49  (2022)  June 20th.  6:45 PM  HOYTS CINEMAS,  VMax 2   Karrinyup.

"I want to do what I want to do. Play the music I want to play. I know what I want." (Elvis talk tough to his allies, not knowing the power he was losing over his own destiny).

How risky would it be to shoulder the task of creating a bio-pic of the most successful solo artist in the history of the world? Risky, you'd be thinking I'm sure, but when it comes to Baz Luhrmann and taking risks, they fit together like Elvis and Pricilla. ELVIS is Baz's latest project of passion, and the canvas he creates is choc full of story, sound and controversial conjecture. I didn't love it, I liked it a lot and I recommend you don't miss it!

ELVIS comes with a warning though. If you are hoping for a "colour by numbers", tell all life story of the legend that was Elvis then you'll be surprised. His life story is entangled in threads of colour, glitz and characters who may not quite meet interpretations you may have had previously. Baz is taking you on a ride via his bedazzling vision. Ride with it, let it take you along because if you fight it, then you may as well leave the cinema!

One of Luhrmann's creative decisions here was to tell this story through the eyes of Colonel Tom Parker. Given the revelations, post Elvis, of Parker's misuse of Elvis's future and money for personal gain, there may be some who will be offended. Tom Hanks gives Parker a dark aura that keeps us on edge as he tries to convince the audience of his credibility. It's a clever course Luhrmann takes. Parker's voice-over continually tries to convince us that Elvis spiralled because he made bad choices. We walk away knowing the worst decision Elvis made was to maintain Parker as his life-long manager.

But let's face it. We are keen to judge who played who, and were they any good? For starters, Austin Butler captures the mystique of the great man with style. Olivia DeJonge proves she is a rising talent in the shoes of Priscilla. B.B. King and Little Richard are brilliantly handled by little known actors Kelvin Harrison Jr and Alton Mason respectively. If there was a character that seemed forced and, at times grating, then it was Hanks as Parker. 

Because I've never been an Elvis devotee, much of his back story was foreign. ELVIS gave me some "I never knew that" moments. Ultimately ELVIS, Luhrmann style, is guilty of substance (depth of life-story) being sacrificed for style. It's a case of how hard we mark ELVIS on these terms. I'm an easy marker; go have a good time with ELVIS.  9GUMS.

        

              

No. 47 (2022) A HERO (GHAHREMAN) June 17th.

 

Film No. 47 (2022)  June  17th.  1.20 PM   Cinema 6.  LUNA,  Leederville.

 

"Don't do anything that would disgrace you and the family for ever". (Rahim's sister and most beloved family ally places her brother's immediate dilemma squarely at his feet).

The reason I most enjoy film is because of the passport it offers into a world where the life, morals and values of other cultures give insight. A HERO offers a window into Iranian life, and Asghar Farhadi (A SEPARATION, THE SALESMAN) is without doubt my go to director, when it comes to life in Iran. His script and images stem from having a sharp eye on sociological implications of everyday people caught, generally, in domestic stress.

Memento International Films had a deal negotiated for them so Amazon Studios could take on the rights to sell and distribute, A HERO. Farhadi became quite the hero for the mega studio in 2016 with his Academy Award winning, THE SALESMAN. It makes sense Amazon would continue to back these small but substantial stories from an often misunderstood Iranian culture. Streaming now allows everyone access to these stories. Stories which previously were reserved for Arthouse cinematic releases.

So will, A HERO, get the audience it deserves? I hope so because it does deserve it.

We meet Rahim (Amir Jadidi) as he leaves prison. It becomes obvious his release is temporary; two days in fact. He is a man on a mission. He can be freed if a debt he owes is either paid back or his debtor shows him compassion. He has a secret lover who can help. She has gold which covers half the debt, but the method by which she acquired the gold leads to complications. His debtor, once compliant, has been burnt. He is not interested in negotiation. Every character, on face value, has a point here. Our allegiances wax and wane as new information emerges about past deeds. Rahim is our hero, but this mess could have been avoided. Ultimately his greatest decisions will come from what he sleeps most easily with. Decisions of conscience.  

If in the hands of Hollywood, perhaps A HERO gets the "happy ending" treatment. The realism Farhadi creates here is not escapism, the warm feeling we get as the screen turns to black revolves around how Rahim will live with himself from that day on, as both a future husband and more importantly as a father; not because he will be happy in a life ever after!  10GUMS.

       

     

        

No. 46 (2022) MAIGRET June 15th.

 

Film No. 46  (2022) June 15th.  10:30 AM  LUNA  Essex Cinemas,  Fremantle.

"Someone wanted to make this girl disappear, but she must have left traces, somewhere" (Maigret's chief hands the case over to his No.1 sleuth. The great man's aim will be to follow each trace!).

There have been so many derivatives of this likeable French detective told through the eyes of other nations, mainly British; here is a nice change, the king of French cinema, Gerard Depardieu, playing the iconic fictional detective in the place he belongs.

Depardieu does Maigret beautifully. The big, lovable detective occupies 90% of all scenes and solves the murder of a sweet, insecure street girl, quietly, thoughtfully and with great compassion. Every scene is coloured with a deductive ingenuity of which Holmes and Poirot would be proud. Our big man's compassion emanates from a loss. Its a personal loss of the worst kind and the most poignant  thread to the use of Maigret's subtle skills.       

Director Patrice Leconte (MONSIEUR HIRE) has created a costume drama with great skill and care. Here the resources of the costume and design departments are much more sophisticated than those of the script writers. That's not to say the script is not good, it's simply prosaic, predictable and polished with the slightest and not terribly satisfying of twists.

Film's like MAIGRET are made with a matinee feel. I watched it on a dark and dreary afternoon never expecting anything more than I got. None of the 87 minutes (yes 87 minutes) was wasted in telling this uncomplicated story. Satisfied, and entertained was the aim of my morning outing. Depardieu ticked all the boxes!  8GUMS. 

            

No. 45 (2022) HOW TO PLEASE A WOMAN June 10th.

 

Film No. 45 (2022)  June 10th.  2.45 PM   Cinema 2.  LUNA,  Leederville.

 

"Contrary to appearances we haven't given up on sex. And, we are sick of cleaning the house". (Gina makes a statement about life for the modern woman, certainly a good lead in to an entrepreneurial idea she has in mind).

I love watching cinema shot in my own backyard; Perth, Western Australia. It's even better when the film has something to say, is entertaining and possesses a generous smattering of likeable characters.

In the mold of THE FULL MONTY, HOW TO PLEASE A WOMAN talks the audience into to having fun with issues of the flesh. HOW TO PLEASE empowers experienced women to invigorate their sexual selves, reminding them that it is important  living a healthy life. 

Gina (Sally Phillips), recently sacked as an assistant in finance liquidation, stumbles upon a removals company with the potential to offer so much more. Wink, wink, nudge, nudge .... you know, strapping men who can do more than just lift heavy things! And, thrown into the ailing business is owner, middle aged divorcee, the handsome Erik Thompson as Steve. He needs to be convinced and Gina's looks and charisma will see to that.    

The risk with a film like HTPAW is that the topic has been handled, badly, previously (WALK OF SHAME}. Writer/Director Renee Webster matches her thoughtful script with a series of little known actors who have an ability to charm. Converting a struggling business's loss sheet into a profit margin by offering more (including house cleaning and much, much more) needs actors we like and who are totally self  effacing. It's Webster who returns a profit here.

Most importantly Phillips offers up a charming lead in Gina. Her mates Sandra (Caroline Brazier), Claudia (Roz Hammond) and Monique (Tasma Walton) are good company. And while the supposed 'steaminess' between Phillips and Thomson wasn't totally convincing, their luke-warm chemistry rounded out an easy going 100 minutes of entertainment. And like THE FULL MONTY, here is a small film building a strong following. It's light, it's loveable and doesn't try to be anything it is not. 9GUMS.

                    

   

No. 44 (2022) THE DROVER'S WIFE June 6th.

 

Film No. 44  (2022) June 6th.  2:50 PM  EVENT CINEMAS,  Innaloo.

"I'll fight for my children. I'll fight for my life. If I have to I will" (Molly sets down her priorities of survival when faced with danger and adversity; a gun armed and raised).

Leah Purcell has created a very fine film in THE DROVERS WIFE. Taking an iconic Australian short story, written by a literary legend (Henry Lawson), recreating it as a novel (The Legend of Molly Johnson) and a play before turning her hand to this feature film proves the talent that is Leah Purcell. I hope many people take to cinemas, soon, to catch THE DROVER'S WIFE.

The film is a dark story of resilience, generosity, loyalty, devotion and sacrifice. Every one of these qualities stream through the veins of Molly Johnson (Leah Purcell). Molly is a strong, handsome woman living with secrets, and while the themes of First Nation people and Female rights are told one dimensionally, what good western hasn't made their message simple but strong in the past; THE SEARCHES, RED RIVER, HIGH COUNTRY included?

But it is Purcell and cinematographer Mark Wearham who combine to power this compelling film to great heights. Molly lives alone, except for her four children, in the wild terrain that is the southern Snowy Mountains, in turn of the century New South Wales. Wearham's eye captures the wild, beauty that Molly exists in. The solid ramshackle house a fortress for Molly to proudly call home, a fortress to protect all she loves. 

The fact Molly becomes a legend (fictional) says much about the dark path this story is headed. Where is her husband Joe? Molly seems unconcerned that her bread-winner has not returned from duties in the bush. Her defining relationship with Yadaka (Rob Collins), a first nations prisoner on the run, reveals unexpected truth and a chance to learn that an adult male can be trusted; a new experience for Molly.

Ultimately her greatest male ally is her oldest son, 12 year old freckly Danny in who she places her trust. She sacrifices all, knowing young Danny will protect all she loves and holds true. Malachi Dower-Roberts and Purcell play their partnership with great empathy and skill. The final scene will warm your heart after all that has cooled it. 10GUMS.                            

 

No. 43 (2022) CONTRA Palace German Film Festival June 4th.

 

Film No. 43 (2022)  June 4th.  6.45 PM   Cinema 1.  LUNA,  Leederville.

 

"There is the only way. I learned it when I had a big case. Dance!". (Professor Pohl releases his secret for overcoming anxiety to Naima before her first debate performance).

Here is a shiny German film dealing with a series of issues including chauvinism, discrimination and ultimately, empowerment. I say shiny because while its themes are seated in serious issues, the film is more comedy than drama. It's a silly fairy-tale, stolen from a popular French film, LE BRIO but it works, as fairy-tales well told often do. Richard Gere and Julia Roberts built their careers around one!

Naima Hamid (Nilam Farooq) is our hero here. She is first generation German, a Muslim with classic middle eastern looks. On entering her law lecture, a packed theatre, late, she is chastised and vilified by the cynical professor Richard Pohl. The set up is simple and sharp. A phone-video of this vilification is soon uploaded to Dean Lamprecht, and a panel is quickly convened to oust Pohl from the university. He deserves it. His outburst is appalling. But what if there is an offer of redemption? It would involve him mentoring Naima through a national tertiary debating competition.

See, I said it was silly. Naima is quiet and shy. A brilliant debater of national significance within months? Not likely, but it's a fairy-tale and these two, Farooq and Herbst, have chemistry. Like any good underdog sports flick, this has us cheering on every small moment as Naima and Prof Pete form an alliance. They reveal their vulnerabilities, appreciate each other and reveal a trick or two. The dance moment is fun!

Most of all, the humour is never forced. Our predictions of what's to come are spot on and of course there is the usual final stanza conflict. The drama of the conflict threatens to tear the fabric from all that has gone before. And maybe, if you haven't already seen the French original, it doesn't end quite as you might think. German cinema is not renowned for light melodrama ..... CONTRA gives a freshness to their film landscape.  9GUMS.  

              

 

   

No. 41 (2022) MOTHERING SUNDAY May 26th.

 

Film No. 41 (2022)  May  26th.  6.30 PM   Cinema 1.  LUNA  Windsor,  Nedlands.

 

"Jane, you have no family. That is a gift. You have nothing to lose. And you must learn to use it". (A grieving mother, Clarrie, imparts her ill conceived view upon her servant, Jane Fairchild).

The real grief of war, told through the eyes of a servant in the 1920's is a cinematic tale told previously (TESTEMENT OF YOUTH) to better effect. MOTHERING SUNDAY is mesmerising, and a worthy contributor to the genre, but doesn't quite achieve the brilliance it had the potential to fulfil. But make no mistake, add Odessa Young to the growing list of Australian actors on the rise, is bound for bigger things.

Jane (Young) is a servant. Coming from the underclasses, she aspires to write, meanwhile she serves the privileged echelons of society. It is her stepping stone to a more fulfilling life. We meet her working as a maid for the Nivens. Godfrey (Colin Firth) and Clarrie (Olivia Colman) who are grief stricken. Their only children, two boys, were killed in The Great War. Jane is locked in a steamy affair with Paul (Josh O'Connor) who is to marry Emma Hobday (Emma D'Arcy); it's a given, part of the class arrangement. Jane knows her place, so her relationship with Paul is wholesome and fulfilling from a sexual POV.

MOTHERING SUNDAY is a novel adapted by Alice Birch from Booker Prize winner Graham Swift's (LAST ORDERS) prose. Those who loved the novel may have a more grounded opinion of the film. I say this because so many themes in the film are left flapping in the wind. Themes including, class, grief, loss, suicide (maybe) and a life lived are all explored in the tale, but for me, I was never fulfilled. I'll read the novella. 

MOTHERING SUNDAY is a good film. It's a handsome costume drama, a genre at which the Brits excel. This Sunday, which begins for Jane with a rare day off, a day to herself, becomes a pivotal moment in her short life but one that, via the imagination of Swift, will be lasting. Glenda Jackson's (first in 31 years) appearance is clumsy but sums up all that has gone before. 9GUMS.              

 

No. 42 (2022) TOP GUN: MAVERICK May 31st.

 

Film No. 41  (2022)  May 31st.  4:30 PM  HOYTS CINEMAS,  VMax 2   Karrinyup.

"With all due respect sir, I'm not a teacher. I just want to manage expectations!" (Capt Pete 'Maverick' Mitchell lets Admiral Simpson know how he views his role as mentor to the squadron).

It is rare for a sequel to meet the standards set by its predecessor, but MAVERICK does. I say meets because it's one brave person who definitively says MAVERICK is better than TOP GUN (1986), the original. The Bruckheimer/Simpson production stable are the masters of the glossy, action film, fairy story. MAVERICK never tries to be more than the original, and Tom Cruise simply steals the show. Then again, if he didn't, MAVERICK would be bombing!

I'm not going to bore you with an insight into unoriginal tale telling of the Bruckheimer variety. TOP GUN was all about testosterone charged men vying for top spot while getting the girl .... MAVERICK is all about much of the same; including a woman flyer and Tom returning as the old bloke who knows it all and has a need to prove it. Oh, and to get the girl, Jennifer Connolly.

The gloss that represents the pallet of a Bruckheimer/Simpson film using 2022 cinema technology, along with Tom, shines in MAVERICK. The clean cut handsomeness of  Miles Teller (Rooster), Glen Powell (Hangman), Monica Barbaro (Pheonix) and Jennifer Connolly (Penny) along with simple sentence dialogue ("I don't sail boats, I land on them") has the box-office buzzing. The Lady Ga Ga hit Hold My Hand is helping to fuel the fire that is MAVERICK!

Go find the biggest screen. Buy popcorn in a bucket and strap yourself into a seat moulded to your butt and back. Don't think, just watch (you'll know what I mean). There were groans when the making of this sequel was announced twelve years ago. Paramount has endured the end of the GFC, COVID and the nay-sayers to watch with pride as MAVERICK opened with a $100M weekend (Tom Cruise's first). It's taken $250M worldwide as I type ... go join the queue. 9GUMS.         

    

  

No. 39 (2022) WETLAND (EL LODO) May 22nd.

 

Film No. 39 (2022)  May  22nd.  4.00 PM   Cinema 6.  LUNA,  Leederville.

 

"You are local. Your family come from this land. I knew your father. We can trust you Ricardo". (Eusebio reinforces his belief that Ricardo can implement change).

This Spanish story, shot on the unique Albufera Lagoon in Valencia, will strike fear into the hearts of pro climate change advocates; more specifically in those who proactively work towards change. The problem is, this film's message is diluted due to it's overlong run-time.

El Lodo translates to The Mud in English. It's a damp, dark translation which suits the pressure cooker atmosphere that is EL LODO. WETLAND is the English title, driven by distributors, for marketing purposes. There is no HIGH NOON ending here. And yet it's a film that promises hope but delivers pessimism of the dampest and darkest kind.  

Ricardo (Raul Arevalo) is a water scientist. He has had recent success rejuvenating a "tired" wetland in Brazil. He once lived in this community and it's a time in his life where he, wife Claudia (Paz Vega) and daughter Julia can recuperate from a tragic loss. The plot sets up for an exhilarating and feel-good ending. What eventuates is quite different. The powder-keg of anxious foreboding becomes the tapestry by which second time feature director Inaki Sanchez (ZERO) weaves his tale.

Whether its the old adage that directors don't know how to cut sequences they have fallen in love with, I'm unsure, but EL LODO has atmosphere and a take on climate change we need to be reminded of. Sadly, it just gets bogged in THE MUD!  7GUMS.