The Final Year : A Film Review

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The Final Year

Cast : Barack Obhama, John Kerry, Samantha Power, Ben Rhodes. Producers : John Battsek … producer, Diane Becker … co-producer, Alice Bristow … associate producer, Christopher Buchanan … co-producer, George Chignell .. Production Executive : Passion Pictures, Christopher Clements … Production, Executive: Motto Pictures, Ann Rogers,  associate producer, Kerstin Emhoff … co-executive producer, Julie Goldman … producer, Tyler Gurd … associate producer, Carolyn Hepburn … Production Executive Ann Rogers … associate producer, Andrew Ruhemann … co-executive producer, Nicole Stott … Production Executive: Passion Pictures, Erikka  Music by Philip Sheppard Cinematograph  by Martina Radwan, Erich Roland, Film editing by Joshua Altman, Langdon Page. Duration 1hr 29mins. Cert. 12a.

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The Final President

Home Box Office have created a documentary of the final year in office of the 44th President of the United States, Barack Obama’s tenure of service from 2009 to 2017 an inevitable expectancy reaching a form of closure.

THE FINAL YEAR is a unique insiders’ account of President Barack Obama’s foreign policy team during their last year in office. Featuring unprecedented access inside the White House and State Department, THE FINAL YEAR offers an uncompromising view of the inner workings of the Obama Administration as they prepare to leave power after eight years.  It is an ‘fly on the wall’ without the depth of the intimacy of private wrestling with the pervasive conflicting day to day manifestations of outfall not just of past history but managing the present.  It is inside and insightful yet is disappointing and troubling to watch.

News Management has soared to the top of everyone’s truth seeking senses.  It seems we are all on a course of becoming a component in an agenda of mismanaged futures through the choices made in elections everyone is on someone’s line of trajectory.  People as commodities.  Holding firm to truth and where it emanates from is as ever a pathos, as stories crush and compel arguments across Governmental desks.  Challenges are of unique carefully drafted message enveloped in media forms confronted by the reveal of history none were anticipating. Paradise papers and whistleblowers.  Julian Assange just recently became a citizen of Ecuador while the GB Government has him under house arrest.  Democrat disjunction, disfunction, is here to be seen also writ large ahead of the triumphalism of the anti-Athenian D. Trump.  Dialogue is free and interpreted instantly.  This film takes us up to that threshold and we are in the arc following when the choke was taken off the master tapes of the White House and Twitter accounts tell of internal wrangling.

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Term of Office

No longer is there a President of the United States but a franchise which is part an incumbent of enemies trading powers privilege staying off legislation. A News managed for the mass consumption in return for a route to launder currency is all it took to dismantle the final office frontier. Nations and boundaries no longer matter and instead a block chain of political dimensions untaught in manuals or educational establishments, for that is what they were, are grounded on blocks of power. High yield is a derivative played by arms provisions.

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Adjust the War

Barack Obama was the last President concerned with solving the long trail of a Rothschild type Imperialist agenda which saw the Gaza Strip as a battleground. He could not avoid it but it was not an analysis of sufficient gravity but a long held (dis)belief it was not a religious warp. So religion and it’s many dimensions never became part of the guidance on either side. Read the scholarly Saeb Shaath on the legacy.  Syria and The Middle East have held a long sword of unremitting horror over its own people extracting themselves from a century or more of exploitation through its  own tyranny.  http://saebpress.com/2013/08/saudi-arabia-funding-unrest-in-middle-east/. 20c Oil has been the catalyst for the resurgence of the Arab world to again become valid citizens in a fallible relationship with its surrounding neighbours and fellow followers of peaceful unity but it has harboured the hurt and damage caused by invasion and exploitation of corporate thieves. Now the calamity is in a frame of technicolour news as daily reports of intolerance, genocide and divisiveness saturate continents and infiltrate the outskirts of formerly untroubled Nations. Migration by displacement is a shared world problem.

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Calmness is a convoy of aid and here in the film of the round up of conventions and diplomatic dancing comes another narrative. Blaming and shaming. The aid literally is blown up by an actor for the world to react to, showing the failure diplomacy is. UN outrage is blunt and name calling. Putin is intent on alarming the world by showing here it is a crime to want peace if you do not accord with a rule of one Federation. The former Soviet Union is revengeful and Ukraine which barely gets a mention in this documentary is as near as we can place a truth of division outside of the Middle East used as a bargaining chip by both sides. The Hillary Clinton input is put aside also.

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Global Diplomacy

Heavily featured here is the Vietnam veteran John Kerry. He justifiable carries the burden of spokesperson for the nothing war which claimed and still does the lives of many of his fellow combatants and by mines left unexploded awaiting a victim. The Vietnam War follows through from Kennedy whose armaments fed the Vietnamese regimes fighting Communism to the Johnson and Nixon destruction both of their own troops and many civilians in Laos and thereafter came an legacy where there is still a long unbroken chain leading into Presidency after Presidency. Obama is intent on doing his peacemaking tour around the world and finds it gratifying and just in going back to the past and looking to repair the broken shattered peace and being a fitting memorial for drawing a line. Japan and Hiroshima will also feature.

 

 

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John Kerry is on the alternative narrative of dealing with today’s catastrophe while ignoring the elephant in the room of USA defence weaponry manufacture and industrial warmongering industries. Safe to say he is not a pacifist as late on he declares and at the same time purports to be seeking peace. On USA terms. The other handgliding drone in the room is a UN Ambassador whose job is to make the obstinate squirm and show up the fallacy of their ways. Samantha Power has the unusual insight of an Irish Immigrant background; disqualified from running for office by that origin but equipped by having been recruited on the basis of a journalists approach and her book on origins of war and where they are taking us, at least that was my original take on its premise. The John F. Kennedy School of Government at Harvard University (sic) was the institution Samantha Power established a Human Rights Foundation in. From writing about how 20th century genocide was ignored (wide generalisation given the WWII and continuation of The Great War) is lost in narrative with the title The Problem from Hell. Women’s issues are highlighted and it is neither seen as a fashion thing about wearing hijabs or subjection but a basic lack of equality. Religious dogma is not writ large. Kidnapping and slavery and terrible abuses are documented while the daylight of a USA where a form of women’s subjection is to open on news fronts across industries in a #me too narrative is in the shade here. Truth will out eventually. One of the guides they fail to recount is John Stuart Mill, not only on divinity recalling the individual broadly used not as freedoms footnote but as a economic distribution ethos.

 

 

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Unintelligible is the strength and power of religious idealism and internally humanity overdoing any ‘value’ hierarchy brought about by trade. JSM relies on ‘constructive empiricism’ while seeing or rather not seeing ‘nature’ – the storms of civilisation alongside the natural phenomena of our daily bread – constantly putting us in our rightful place demanding reconciliation with it and ourselves. For JSM his wisdom also produced solutions peculiar to himsel& and in his relationship with Harriet Taylor evidenced an equality of existence even the Church could not form. Itself a ‘periclesian’ mode which was denying no one their individual freedom. The suffragettes at the same time conducted wicked and detestable bombing and created a scourge still not acknowledged as a means to an end. Democracy. Enemies were many and often with good cause. So this is a backdrop History is failing to include in the breath of those forces confronting the so called ‘leaders’ this film seems intent on eulogising in a passing river of consciousness as it reaches down rebranched tributaries and flows continually caring the waters which it will always carry.

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Dressing wounds

Narratives are forms of life and no history of the world can be written without the diaspora having a say. From the Anglicised retention’s of rule in a Fedralised America to the Religious strength consumed and abused in the USA and nations from the tip of South America up to Alaska, Canada, across Europe and spread dishonestly as a rhetoric of truth comes another will. The will of America to prevail and be prevalent as values which we are overhearing in the everyday talk of the rooms of power.  No mention of the G20 or Peter Sutherland, Goldman Sachs or any taint of monied America getting its hands dirty?  Just another HBO narrative with displacing counterpoint in soundbites hurled with intended anonymity into the whirlpool of chaos two steps behind the developing story.  At the beginning of the film comes a follow me routine. The feet fast and well shod on prepared ground. The diplomats timetable run out as prescribed in advance but always a beat behind. It’s as though they are insistent on not being their on time so as to disown the past.

Imperialist allies

Britain invented Israel as a removal of a family of languages and people. the afroasiatic form called Hamito-Semitic, a family of languages including as subfamilies Semitic, Egyptian, Berber, Cushitic, and Chadic.  Syria is Palestine and holds a bitter division in opposition to the Imperialist Israel Project with Lebanon as a hideout. An interesting novel character is found in a speech writer whose compass matches Barack Obama’s.  Ben Rhodes is an under forty master of spin and incisive vective. This is a part of Obama’s person he (Obhama) can’t devote time to so has allowed a surrogate to unfold his theories and unlock his wisdom. Unwittingly or is it intent, he is cast in the mound of a Jewish intern general with a false past which is possibly denuded of the Religious might he is from.

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Religion is swerved here. His Episcopal Father and Jewish Mother are tongues he listened to and listens internally to now it would seem safe to assume. No faith is to undo the legacy of an infant Israel heresy. Muslim or Christian. Judaism in a bold type of monotheistic reason is adhered to in American eyes.  Both these travellers, Obhama, Rhodes, are Religious in degrees privately it has to be assumed from other media but often as not it is left outside the Oval Office. Neither seems to realize their part is based in Religious heirachy and they are beholden by virtue of their cloth. That sets them apart and mitigates against their understanding of others values not matching theirs. Fundamentally in the Middle East.  Winston Churchill is apparently their mentor or past leader of choice for guidance. He was beholden to America also and Blenheim Palace became the gift of the British Crown for his persuasion in getting the USA to enter WWII and send supplies into a Europe which was under siege from that genocide The Problem from Hell. More like the problem of Hell. How not to see it. How to not recognize its advance.

Hell is in the clouds and earth.

Speeches set the tone and every new room entered has a pathos to be delivered. For Barak Obama it is the American Declaration of Independence and is foremost in lectures to the gathered. It was what a Congress was derived for. July 4, 1776, and the words were set in Washington’s Presidency. Those words were conscripted from Ulster’s Francis Hutchensons philosophy brought forth by Thomas Paine as exiles of the yoke of imperialism they so detested.  Unitarian in thought and principle their ideas were nevertheless based on individuals allowance of free thought. Less words would carry such might as those distilled here. Yet where are the notions of the Declaration in assignment against the tours of combat since embarked on. Only the hideous genocide of future generations in Africa and Asia would equal the waste of WWII and its legacy borne world wide. Now the countries are being stripped of their assets by new entrants from China and the G20.

Conclusion ###3

Rich as this film is equipped with the sensory media behemoth of the United States of America in history mode it fails to direct the camera in any decisive illuminating way while illustrating a West Wing narrative which is high on ideal and lacking in scuprles or any game changer dynamic.  The anticipation of office has been swamped by time advancing with greater perils opened up through truth emerging in histories recall.  As a mission to complete the 44th Presidency many repairs were sought to be made by Barack Obhama while his steadfast troops both suited and fatigued were deployed on present day flanks with much of the common talk broken into slow burning flames of hope.  It is a film worth seeing as a reminder of the removal from the political sphere a genuine worthy experience of mankind reckoning with their own failures and beholden by powers immensely conflated and misunderstood.  Philosophy is in its a bit but it is a failure to define politics as a motor of governance for the common good which is all too clearly absent given the extremes of the states and actors involved at the heart of our world order.

 

John Graham

18 January 2018

Belfast

Opening at Queens Film Theatre Belfast 19 January 2018 until 25 January 2018.

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Sanctuary : A Film Review

Sanctuary

Director. Len Collin, Writer. Christian O’Reilly, Production. Edwina Forkin, Director of Photography. Russell Gleeson, Editor. Julian Ulrichs, Design. Sonja Mohlich, Eleanor Wood, Music. Joseph Conlan, Cast. Kieran Coppinger, Charlene Kelly, Robert Doherty, Michael Hayes, Emer Macken, Paul Connolly, Frank Butcher, Patrick Becker, Jennifer Cox, Valerie Egan.

Cert 15. Duration 1hr 27mins.

Loves logic and laughs logistics

Screenwriter Christian O’Reilly with a previous disability themed feature Inside I’m Dancing (2004)) has adapted Sanctuary from his play of the same name produced by Blue Teapot Theatre Company between 2012 and 2014.

Director Len Collin and his team have reinstalled the same cast from the original stage production. Mainly Larry (Kieran Coppinger) and Sophie (Charlene Kelly) and Tom (Robert Doherty) their care worker, whose step outside the usual routine creates a havoc and brilliant set piece for antics of Rom-Com notions and with pathos and a heartfelt journey through common emotions and the premise of arranging for Sophie and Larry to have some time alone brings about for the group around them as well a bold adventure in the ancient Galway citadel. A day out at the Cinema is the arch and a day passes with happenings breaking down many barriers and showing many of societies silent and muddled thinking. There is a dark central theme of abuse and it is not necessarily lodged in the past and remains undealt with properly or with dignity. The sexual power is wrested away from individuals who are loving and unrecognised equals and in the course of dealing with their sexual driver without guidance help or educational means to construct each of their own narratives.

Modern Love and Loving

Now as 2017 comes to a close this new Irish Film brings a very high intensity tale of human frailty and thoughtful, thought provoking film now to be screened on general release. Sanctuary is a word only partially conveying the entry and subject of the story. It sets about totally opening human emotional constructs in its portrayal of the love sought and enveloped in every part of our existence. As an Irish black comedy/drama/thriller/ …. its a sum of many parts …. it may be, will be one of the best things your likely to see over the Christmas period and it has the solidity of being a universally themed and therefore poignant drama significantly pointing up the world of disabilities visited on people in ill health. With a cast of people with learning disabilities – mostly Down’s syndrome which Tom (Robert Doherty) the person whose job it is to look after the groups activities tactful describes his group to a Gard (PSNI equivalent but unarmed mostly!) itself a script crafted nuance which this film has in spades.

Nuances are aplenty and there is a central theme of a Rom-Com for the cast and audience to feast on. Set in the Galway of last Christmas, filmed also out of sequence during this year presumably in the interior stories, it is a journey into the unknown and is teased out joyfully and at times laugh out loudly – lol – as the plot thickens and never overdoses its prescripted meds pathos.

Complex emotional theatre

Hard as it is to imagine for myself the dilemmas uniquely faced by disabilities other that tertiary glimpses, I see the story being given artistic licence and the work is scripted by someone whose knowledge has constructed a story and avoided complexities of sexual education and also angst, anxiety, panic attacks which must occur under the circumstances which are to everyone more than a ‘given’ – emotional worlds do not come with an instruction manual – so a degree of leniency in absorbing the arch of the story is carefully written in without loosing the very real juxtaposition of societies and the caring communities different rules and constraints. In taking on the task of delivering a coherent and fully entertaining instruct full insightful – a word which is bound to turn up on its reflection – there is a commitment to drama and theatre which is delivering in the ancient dramatic techniques of fictionalised performance around since no theatre and dance verbal communications etc. I thought of it as similar to Theatre of Witness work in Derry Playhouse as drama used as a tool of understanding in the circle and womb of commune with the universes foundations.

Mary O’Malley of the Lyric Theatre fame saw this vehicle as other numerous Irish dramatists have and still encounter to pu5 before us the intractable. La La No on Yeats excursion into No theatre and with Basil Blackshaw’s (Igor Stravinsky and Picasso and Rivera invoked) set design – a revival is overdue!!! Cinema is used here within the film. I jotted down these three, Punky – possibly made in connection with this film, ScrewBack, Maiden of the Sea. These are the fodder of the Eye Cinema Multiplex the group visit as a daytime Christmas outing which is viewed in individuals own tastes carefully comically observed and counterpoint to the off screen romantic and otherwise interactions which come rich and varied.

Tom the believer.

Key worker and helper par excellence Tom (Robert Doherty) takes his caring a bit far and therein lies the drama – and story.  The effect is a brilliantly delivered cinematic excursion of multiple advantages and rewarding for the watching of, as well I can see for the cast whose everyday life is a daily battle with the present, with the past a place they tend not to dwell on. Therein is another reality, the fact that the demands of the everyday are unlike this for most of us and as such careful attention needs to be taken in respect of the physical world, bodies get programmed to and in routine, depending in the individual expectations. This equates and permeates as different tasks not to be taken as ‘given’ for those with very significant health problems.   Lots of the cast have challenges which are dealt with with dignity and solace derived from the care and fellowship – not always present in the past or present – received by a society trining to adjust and often failing to care.

Title leanings and meanings

Seeking the sanctuary of companionship and a partner is profoundly, instinctively programmed as a right of birth while it is found wanting for many including and often beyond the scope of infirmity visited on the body disabled by unknown (why all humans are factored in with flaws) these biological demons chemically damage our constructs bewilderingly. From early life the dna of ourselves is implanted and does strange things which the rest of life is often fully occupied with redressing.

1 immunity afforded by refuge in such a place.

2 any place of refuge; asylum.

3 a tract of land where birds and wildlife, especially those hunted for sport, can breed and take refuge in safety from hunters.

Plot pivot

as described above Tom is a master of mayhem and is not the smartest cog in the machine of managing complex situations. His own Rom-Com adventure is a mirror of the main pivot as he through his ‘girlfriend’ – it’s a treading on loves first tender footsteps ladder for him – arranges a Hotel interlude for Larry and Sophie. Sophie is managing tempts and severe epilepsy and the trip to the Cinema is craftily interrupted which enables the plans to detour to a hotel to come about. While three depart the Cinema another set of side stories is put in motion. Some delightful sub-plots or situational devices bring out the companion actors whose part is to either go with the flow or go and do their own thing or even stay put. The balloons of momentary delight are plentiful and very funny and helpful in telling the often oblique unconsidered tales individuals have in their orbit. Delight is often short lived and the good feelings are let go by other interventions.

Directions taken

Director of Photography Russell Gleeson uses mostly intimateclose framed shots to convey the focus of individuals immediate always dangerous present time existence. Very few landscape walking the dog type shots are used – the theatrical origins is one reason perhaps for this but it is very evident the past where a lot of people cannot move on from or compartmentise is a secondary unhelpful adjunct when disability has presented. The world of dialogue is meticulously held and each scene is a fine edged element in relation to the ongoing story. Rita whose early part in the story is as an Agatha Christie type sleuth with eyes for everything and covert occupational reconnaissance of her friends in the group is eventually given another role nd another side of her character blooms or is enabled. The love she watches hawk eyed and in the margins is hers if she she so desires. These little sidelines are intricately woven and just as illuminating as the core Larry and Sophie tryst. The Galway we see is full of hope and expectation. By some prophetic, intended mirror devised by writer Christian O’Reilly this Yuletide is taken at the flood of goodness in its magical often surreal never never-land. Rita gets to visit the Winter Christmas market and enjoys a friendly meeting with bored citizens of the magic. Often children don’t believe in Christmas for too long but load their expectations on the adults who in turn deal with it among family and friends to escape the problems of health, homelessness, separation, bereavement, work and home related for a short time. The spectacle is very convincing often. Seeing the (drone) overhead of the River Corrib flowing beneath the bridge towards the Atlantic as a torrent and the city fall into a nightime for the returning day to follow is mesmerising in a away. The tumble of the short run from the interior Lough is a miraculous event of continuity.

Conclusion ####4

This is an outstandingly uplifting and conflicting film. It presents the central topic of relationships on a universal and mirror reflecting everyone multiple illusions and realities. The story of lives confronting and dealing with disabilities is profoundly achieved in a well conceived theatrical way. It is as mentioned above like a theatre of witness into urges and emotions and the sanctuary of thought in communicating love and finding giving and receiving love in a life disordered since the beginning of time. Human instincts are to seek out meaning and purpose while forming a personal narrative. This is a very ambitious and never patronising approach to a subject of sexual urges and relationships empowering individuals in their own pathway towards discovery and their assembly of reasoning. The intellectual worth of the story is treated with concern and awareness of how it will be read or viewed. The questions are put with entertaining disturbing sometimes clarity. It may not be as simple as the narrative takes forward but it holds the essential messages without getting lost unlike the wandering of the Cinema escapees.

Sex education could do with a makeover in all corners of these islands and abroad with abuse knowing no borders it is continental, universal while Churches, institutions, authorities, the Film world etc, play down the effects and perceptions by concealment and failure to address core issues. Challenges are made by this film and answers are not its purpose but considerations of Sanctuary are ever present. Tom has no priors before this moment of unprofessional caring. Society appears as a bystander sometimes and this is how Larry and Sophie see as their barrier to love. If you have to choose between the latest Star Wars film and this its a no-brainier – go for this it is so much more than the sum of its parts and it was a privilege to see such fine performances in a range of very difficult circumstances. A great achievement worth of seeing more than once as you might miss some of the hidden gems stretching out before you. You need to be as observant as Rita who has an education through this independent in every way, film.

John Graham

20 December 2017

Belfast

On at Queens Film Theatre from 29 December 2017 until 04 January 2018

At QFT the 18:20 screening on Wed 3 January will be followed by a Q&A with director Len Collin and members of the cast.

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Architecture : Art in Architecture

 

Kengo Kuma cites Seurat’s influence.

I used Kengo Kuma’s books (little) on Small Architecture and Natural Architecture as jumping off points for a discussion on the equation with art in its many forms which is to me fascinating. <strong>Kengo Kuma</strong> (隈 研吾 <em>Kuma Kengo</em>, born 1954) is a Japanese and professor at the Graduate School of Architecture at Tokyo.  Kuma is also noted for his prolific writings. I tale heed when an Architect talks about ‘caulking widths!’ and the other day I spoke to a tiler about the ‘Equipe’ (Spanish) tiles he was using and they were perfectly utilised and the caulking was a light grey instead of a white or dark grey with the tiling – external and white polished ceramic – little modulations on a modest retail facade. The detail imbued by Kuma is similarly drawn.

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Graham Sutherland work

With painting, a subject and other visual Art forms, techniques line up tougher to provide solutions and knowledge we otherwise take for granted or fail to see the connections between. The challenge here is to express the randomness in the regularity of nature’s life and movement through time which is a perpetual engagement.

Natural Architecture is calling us to think of Buildings as clothing says Kuma.  In the characteristics of the body the Heritage Museum of Kuma (Hiroshige Museum) is in three layers. An overcoat of 3cm x 6cm cedar slats, at 12cm intervals, inside his a jacket of <em>washi</em> paper wrapped cedar louvred. Finally on the inside is a layer of <em>washi</em> paper illuminated from within. The structure and elements of walling, flooring are at multiples of 12cm.  The studs of the light walls are at 24cms intervals. The walls are like Japanese inn <em>shoji</em> screens. As this form of construction would be in a public building a layer of plasticised paper was applied to the inner layer to thwart children or damage from visitors.

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Modular

While this is a compromise the principles hold true.  The flooring too is 24cm squares. The structural engineers – Shigeru Akol and Satoml Makino – designed slender columns keeping the rhythm.  Using humanised materials – <em>plastics</em> – would seem like abandoning the natural approach or compromise but Kuma correctly maintains there would be no ‘Architecture’ or it would be at a standstill were modern inventions, uses not applied. There is no right way he suggests and things must co-exist.  The form of a Building must be a collection of things based on collectivity, humility and hard work.

When this approach is further stimulated by considering the outer world and the barrier the forms make with it there is a further compromise or idea to be taken in. The modular is Le Corbusier territory famously and he was also conscious of the natural responses. Even in The Modular. The plan of Paris 1937 had its relation to nature. Seurat is another whose senses were inspired as Kuma points out by nature’s rhythms.  He is conscious of achieving rhythm by ‘disrupting’ it through choice. The ‘disruption’ takes the shape of a lover for example shaping into modular form light shading a floor or water. It makes the senses defence the man made and the natural in harmonic resonance.

The way that Seurat found it – expression in painting – and engaging was to devise a technique most resonant with the experience of looking and show the world this manner of seeing.  When he was observing the Normandy headlands of other elements of nature, the way trees sway and people are set into a notion of place, be it as occupants in a man made environment or as constituents of a habitat defined by nature itself, he was at once aware of the <em>En mosse</em> unity of movement and alternating states.  Not many accept that as a way into his work.  Instead some see it as a rejection of the impasto approach of his contemporaries and his sparking pointillist invention as a fractal of spaces with each point belonging in a sense to its neighbour while outwardly there are no similarities between those outer objects and the near object except through the continuum of colour balance throughout.  Each colour being totally different yet at the same time forming this <em>En mosse</em> delight in seeing. Seurat like Kuma and others before him were in essence realising the unity of form through observation of the surreality of paint and line in Human form. They would have it demanded of them to react and the stimuli would be forthcoming with and in ideas and expression.  The Normandy work Le Bec du Hoc, Grandcamp (1885) is one such breakthrough in art.

 

Predating Picasso, Braque, Van Gogh and the many modern painters to follow his insight was to develop – and it was brought forward by drawing purely in pencil tones of black and white on textured paper this abstraction of thought now realised to be advanced in paint.

 

 

 

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Kuma points to three things that make up our world.  His Japanese senses using folklore and the tale of The Three Pigs.  The outcome is to allow the world as we see it to be viewed in any number of ways and thus Buildings need ‘conform’ to the metaphors of natures delicate balance.  Each ‘string’ of nature interconnecting as today science shows and continuously proves to us. The change is manifested in nature and stubborn as mankind adaptability is necessary and a given. The interaction too is often cited. That interaction between particles in ourselves and in nature and which artists find compelling in subject. As Kuma raises <em>Monadology</em> is the (Leibniz) theory of monad recombination or multiple variations producing single entities themselves compromised by time and interactivity.  Or words to that effect!

More temporal is the artists quest. Seurat was in his work a philosopher painter. With his expression he enabled others to see the vision of combinations in colour and their juxtaposition.

The painting most often cited as his ‘enlightenment moment, for the viewer, was Sunday Afternoon on the Island of La Grand Jatte (1884-86), undoubtedly the miraculous societal and beautiful flaneur, promenading, egalitarian viewpoint which took another perspective on the world within it the 57 or so characters. Does the black dog count?

 

With it came a one man view on which were to be built other abstractions.  Above is a psychological drawing of Seurat himself  (no.3.) as a lone person on La Grande Jette giving a meaning also in singular societal form, as well as seeing the painting itself being a singular reality.  The same can be said of the lone fisher lady next along.  Neither could it be construed, nor would he have sought that idea, as it having a special status, it simply became symbolically of itself.  It was as just one painting and each time Seurat painted he contributed further to the panthéon françaises of the stable of art.  The panthéon françaises is another route into this thinking. By saintly intervention almost the presence of spirit is told in Buildings and this is since Newgrange, Ireland, to this example, a national monument in Paris, France, it was used as a sepulcher for ‘eminancy’.  The Church that follows.

Church states of mind.

The church of Ste. Geneviève formed in 1764 was secularized in 1885 and to many as  monument was known in Seurat’s time Churches held a special imagery.

 

As nations define themselves through the respectfulness of habitat Architecture expands those implicated values. The shifting changes of the outer world are stilled in a Cathedral as the past is venerated and reflected on.  War and compromise of the human destruction of meditative states are shades of liberty.  The other sense within a Church most connecting with self and affinity to a higher entity is silence. The inner prayer. With this silence the words when the state of inner peace and enlightenment is reached some rejoicing or in the case of a Church worship is given in song and music. The condition of mankind is satiated temporarily as it is with paintings.

Life is temporary nature is permanent.  Edges of materials are often an artists field of exploration as they are in Architecture.  Glass and steel.  Man made and conforming to many attributes in behaviour. Behaviour is obtained as with man and neither is the person is defined by their behaviour but how they are. Conceivably individual and not as in relation to another thing. Force is applied to material to obtain a reaction and it is therefore defined by that reaction.

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Compromises are evident in Japanese thinking however revered it has become. Edo and one hundred views, a compromise numerically there, flipping the horizontal to the vertical, a compromise there. Intrinsic are the compromises of distilling thoughts into the numerical or geometrical whereas the abiding theme is regularly of time as revolving and returning as night and day.

 

Seurat never finishes a process in his work.  Rather he moves onto the next trial of the idea of seeing. The subject matter is only partially societal in its observation. Whatever is forming a frame or image it is to be subjected to a trial or excursive outworking in art. The medium is the matter. The concepts are conjunctions of the viewers perceptions overlaying the relative ideas of every artist. Be it promenading or working in the fields, or at leisure on a lake or fishing on a river everyone there is a discussion of life involved.

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After Seurat by myself.

Seurat genius’s was to form into his new-impressionist technique that abstraction which would influence other artists.  I believe this went into glass and sculpture. Henry Moore is attributed with ‘inventing’ the hole in sculpture but never alone with his art it can only be seen in relation to other works.  The preceding or later forms tell us what to appreciate of the work.  A value is struck and each one is different. A previous observation I made concerning this is found in an earlier exploration of Game of Thrones https://wp.me/p2R05n-ka in comparison with a place we’re a number of artists collaborated on the reforming of Coventry Cathedral. The artists there to make the point extremely well, just as Seurat made.

 

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I once had a long conversation with Zaha Hadid when we encountered together maromina plaster at the 9h gallery I think in London. Asking what I was doing and observing my touching a plastered wall with the Venetian plaster technique in understated glory she was at once in agreement concerning the multiple readings of the distressed appearance and randomness it evoked. The control of material was meticulous in its functionality and with little holes, ‘flaws’, perhaps gathering tiny particles of dust in the indents, the presence of the material as a singular statement of collected skill and artefact would be a long subject of materials and their compromised beauty.  Even now long after it, is the vision of the late Zaha Hadid whose work employed those characteristic formations of rationality along with the expression through material the natural value aesthetic she became renowned for.

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John Graham

29 November 2017

Belfast

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Rocky Ros Muc : A Film Review

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Rocky Ros Muc
Documentary
Director Michael Fanning. Contributors Alphabetically : Seán Bán Breathnach Broadcaster, Kevin Cullen – Boston Globe, Ronan Mac Con Iomaire Author Rocky Ros Muc, Peter Kerr Trainer, Pat Nee, Mike Newell, Sean O’Mainnin, John ‘Red’ Shea, Marty Walsh – Mayor of Boston, Mary Walsh, Mother of Marty, Micky Ward. Production. Below the Radar, Máire Bhreathnach producer,, Trevor Birney executive producer, Michael Fanning executive producer Music by Andrew Simon McAllister, Cinematography by Ronan Fox, Film Editing by Michael Paisley, Visual Effects by Chris Scott visual effects artist, Music Department Jake Jackson score mixer. Ireland. Duration 1hr 32mins. Cert. TBC. Partially subtitled.

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Boxing Documentary

This film is a tale of one mans journey from his home village of Ros Muc in search of his identity and fame which takes him to America and back again. It involves the diaspora identity and the identity of Ireland itself. Even the introduction has nightime shots of Times Square and Madison Square Garden. For contrast the sky drone takes us over Ros Muc. The famished regions and outskirts of larger cities which draw in the young from near and far. The man is Sean Mannion a middle weight champion boxer who rose to be a contender for the World Title Belt in 1984. The journey was a tough one and in between bouts of boxing he often became derailed by that diaspora scourge of drinking heavily. A strong man he could handle it but the mental damage it must have caused would have been a great drawback. Angelo Dundee as C. Clays trainer said if he had Sean at twenty instead of thirty which is when they eventually joined up he would have been a World Title holder many times over.

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The story is told in the most part by a fan whose book is central. Rónán Mac Con Iomaire who is also a Ros Muc man who has written the whole story or as much as lines on a page can deliver, this extraordinary life. It is a capsule though of many people’s diverse lives as immigrants whether Italian, Polish, Irish and the simple truth of the Country they reach never viewing home. The bi-polarity of a mind in two places is hard to deal with. His mother lived a long time and he has brothers and sisters who were distinctly Irish Gaels as Sean himself was. This inculcated identity was of a locality is about 35 miles south west of Galway.

One doesn’t need to be into pugilism or well-versed in Gaelic to appreciate “Rocky Ros Muc,” a documentary that is as much about roots and identity as it is a portrait of Irish American boxer Sean Mannion. Hailing from the village of Ros Muc, some 37 miles south west of Galway, Mannion, like many of his fellow emigrés, formed a tight-knit community on South Boston’s Dorchester Street, where the light middleweight would find eager sparring partners including members of Irish crime boss James “Whitey” Bulger’s Winter Hill Gang. LA Times reviewer Michael Rechtshaffen delivers a shot on the chin.

Seán Ó Mainnín, Rocky Ros Muc é féin

America Constructed

As Americans and MR will know this perhaps having an migrant background of some sort, the story is as much an American story as an Irish one. Martin Walsh of Ros Muc stock himself, his parents emigrated years ago when they were very young, as Boston’s Mayor ‘Marty’ Walsh, is another from the stage of America’s fortunes or misfortunes. Walsh was brought up in Southside Boston, Dorchester and he participates in telling what he knows of the life of Sean and the Irish of his neighbourhood. The Director Michael Fanning puts across through interview and film footage from ESPN and HBO sports along with family friends and others Irish diaspora who took a criminal route to their lives, he uses the central biographical account of the native Rónán Mac Con Iomaire heavily and journalistically forensic in telling Sean Mannion’s journey with huge respect and homage to the man, Ros Muc, the region and Island.

The Ros Muc origins are worth telling as they bring in the imagination of the man. Within him he realised his strengths and his athletiscm which would later be focused in Boxing. With a pal he would spend time exchanging blows with a sparring partner and together they bought a pair of Boxing gloves. This would mean they would swap and Sean ended up using them most. The Television of Crystal dreams of black and white Boxing was a staple or escapism. GB had Henry Cooper popularise the appetite and Jack London with eventually the one who Cooper famously knocked down, Cassius Clay known later as Muhammad Ali coming into the scene with a legion of followers after the Olympics and he brought out the Irish and GB love of Boxing as a sport. From Hemingway to Shaw through, Conrad, Runyan many writers have taken in this rawest of sports. It was this magnet which put into Sean the notion he could be as good as them if he worked hard. There was a local club found and it was run by Michael Flatherty whose own knowledge and wise head as well as counsel would create a ring fighter. Very soon the young Sean Mannion would hold 17 County and Provincial titles which would taken him further to the National Amateur Boxing Championships. These were six round contests and they were televised. On the back of his ring vest the words – St Oliver’s A.B.C. Girley were printed in copperplate letters. If I’m not mistaken on commentary, uncredited, was Eamon Andrews. This is your Life sharply ironically his claim to fame alongside his astute eye for sporting drama.

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Boston’s twins

The Boston part of the story is the arrival to fight for further fame and glory by joining a gym still a teenager. At Connolly’s Gym his sparring partners included a member of Whitey Bulger’s Winter Hill gang, Irish-American mobster Patrick Nee, who, another Ros Muc native. Also around was another Irishman, former mobster John “Red” O’Shea. Author of a All Souls Michael Patrick MacDonald who lost a large part of his own family to Gangsters is active in combating violence and now lives in New York. The arrival brought many bouts as Sean rose to as they say to become a contender and the appetite among the Boston Irish for a Champion was not lost on Sean and he saw the virtue in ring craft as opposed to gun craft. Both sets of groups in the Southside were not at loggerheads but one probably detested the other for the image of their identity being compromised. There were many Champion boxers in America of their own making. Hearn, Duran, Hagler, De La Hoya, and one Mannion would eventually meet in the ring, Michael McCallum. The later was and is lesser known but he was a lean tall long reach fighter who was not a warrior but a truly great boxer. His encounter with Sean Mannion whose unorthodox Southpaw style; it couldn’t be tagged as even truly southpaw was one which only a gifted boxer could adapt to and counter. Mike McCallum now 60 and paunchy was a Jamaican boxer who competed from 1981 to 1997. He is a three-weight world champion.

In-Chul Baek was a boxer Mannion had to face to go up a level and fight McCallum. There was a very unusual outcome to this fight which is covered in the film with damage having been caused by Baek through him hitting the sorest punch of all on the small rib on the torso. He clearly injured Mannion but other things happened to make the title bout happen.

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Being a Contender

If you don’t know your Boxing look away and continue to next section. The fight was for the vacant WBA Junior Middleweight title of which Roberto Duran had been stripped of when he chose to fight Tommy Hearns for the WBC title instead. McCallum coasted to a fifteen round unanimous decision. The fight marked the first time in history two women judged a world championship boxing fight. 1984-10-19 : Mike McCallum 153¾ lbs beat Sean Mannion 154 lbs by UD in round 15 of 15. Location: Madison Square Garden, New York, New York, USA. Referee: Tony Perez. Judge: Carol Polis 149-136. Judge: Carol Castellano 150-134. Judge: Johnny LoBianco 149-133. So despite the controls being handed to two women which was itself a big move they were unanimous in declaring the fight which went the full 15 rounds in McCallums favour.

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This is the ibroresearch.com part of McCallums history at this time.

….Four more wins, three by KO and McCallum was declared the mandatory challenger for Roberto Duran’s WBA Junior Middleweight Title. The Panamanian was given until April 10, 1984 to meet McCallum or face being stripped of the crown. Although the “Body Snatcher” was a dangerous challenger he was not a super star in the eyes of the boxing public. Like Wall Street, boxing is all about risk versus reward. For Duran this meant a fight with McCallum’s teammate at the Kronk Gym, Tommy Hearns made more sense. Facing Hearns would be risky for the WBC champ but, worth three times as much at the box office as facing McCallum.

Adding to the Jamaican’s predicament was Emmanuel Steward. As trainer of both Hearns and McCallum he would make far more money from his cut of the purse if Hearns faced Duran. McCallum was odd man out, as Duran elected to face the “Hit Man” instead of the “Body Snatcher.” Stripping Duran of his title, the WBA declared that Mike McCallum would face number two contender, Sean Mannion for the vacant WBA title. On October 15, 1984, Mike McCallum became the first Jamaican to win a world championship in the Island’s history. Mannion showed he had a tremendous chin and courage but not the skills in losing a unanimous fifteen round decision at Madison Square Garden in New York City. When McCallum returned to Jamaica it was to a hero’s welcome and a national holiday of celebration. Needless to say the business relationship between Steward and the new WBA champ was over when Duran agreed to face Hearns. McCallum signed with Duva Promotions and acquired a new trainer in George Benton.

Boxings knife edge

There are fewer boxers who would be as brave and fearless as Mannion as this fight showed. McCallum was a brave and master of his craft and wily as both were the Boston Irishman was in a league full of many different fighters whose status is now legendary. The wear and tear on Sean Mannion was carried with great grace and in the ring respect is crucial despite the hype and Entertainment content before and after. Fans love an equal match up no matter the level and each form get is unbelievably tough when this happens for both. McCallum would have gained plenty in this battle for the title. Sean Mannion would have gained his inner knowledge he took part in a dream. For Ros Muc and the man this was a sacrifice of his own body on the line at the utmost height of his capabilities. The fighting Irish would never have been more soundly represented and he was able to hold his head high and still can given the shear bloody mindedness.

The film puts over the main facts of diaspora identity challenges.  The homeplace Ros Muc is one many had been forced to leave. The land and commerce were limited. The former potato blight would have seen many very able people leave under duress and failure of the State governed under the yolk of a Sovereign Britain whose colonisation was upset in the USA which is the sole place immigrants could seek their ‘fortune’. They sought only to be given the tools to live if truth be told and many went beyond their own self beliefs and went to prove a point. That they were as good as anyone on the planet.

The likes of the mobsters featured self analyse with hubris and unwarranted inflated egos. A bullet is no replacement for a mans humanity or warrants a life being regarded as having value. Their sum is lost values and they have taken peoples lives without any remorse. The Boston Mafia also involved itself – after destroying people by exploiting addiction tendencies through monetising cocaine, then later heroin – in more money making schemes sending consignments of Arms and Semtex to Ireland to fuel a terrorists campaign which was itself bound in warped sense of self and national identity. The identity they chose to construct was a fantasy way beyond any Irish probity.

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The Cottage Padraic Pearse grew up in.

An fear a thug an Piarsach go Ros Muc
D’iarr Pádhraic Ó Conghaile ar Chonradh na Gaeilge duine a chur anuas as Bleá Cliath le scrúdú a chur orthu. Ba é an Piarsach a tháinig

The Other Star

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Conclusion ####4

A verdict is easily found for this film of it being a great life story of a brave Irishman well told.  The challenges in and out of the ring were contests which face many in less dramatic or intense ways.  A book Motherland came to mind as it involved travelling the length and breadth of Ireland to explore identity.

Certain things on the periphery but important to explain the man were tentatively danced around. Also the fate of MCallum was never given the strength of telling it deserved. Sean Mannion fought a man who none of the main men would fight – again an extract from ibroresearch.com –

the “Four Kings”, as writer George Kimball had called them; McCallum had failed in his attempt to get any of them into the ring. Marvin Hagler retired in 1987 after losing a disputed decision to Sugar Ray Leonard. Leonard was inactive in 1990 and would lose to Terry Norris by lopsided decision the following year. Roberto Duran, like Sugar Ray was also inactive in 1990, and would lose by TKO due to a shoulder injury to the infamous Pat Lawlor the following year. Tommy Hearns won a decision over Michael Olajide fourteen days after the Watson fight for his only activity of 1990. Did the “Four Kings”, duck the “Body Snatcher” or was he just a victim of timing. Boxing historians can debate the merits of that charge for the ages, but we can only speculate what would have happened if McCallum had been able to get any of them into the ring.

This is a telling part of a story not told. It’s a bit novicey to leave out the background in order to focus on the main event. McCallum fought in the UK a lot because of this. Ever good boxing show has an undercard and this is missing it. Connemara itself is a great underlying facto but again only family and drone shots give any true shape to this Atlantic outlier. America will love this underdog type approach as well as largely focused on the diaspora and Irish abroad. Nonetheless the story is only partially told and it is a sociologically complex one which has currency in our world today. What is the identity of Ireland now?

John Graham

24 November 2017

Belfast

from Friday 24 November 2017 until Thursday November 2017

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Movement is Political – more thoughts.

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Film Star’s Don’t Die In Liverpool : A Film Review

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Directed by Paul McGuigan, Produced by Barbara Broccoli, Colin Vaines, Written by Matt Greenhalgh, Based on Film Stars Don’t Die in Liverpool by Peter Turner, Cast Annette Bening, Jamie Bell, Vanessa Redgrave, Julie Walters, Kenneth Cranham, Stephen Graham, Frances Barber, Leanne Best, Music by J. Ralph, Cinematography Ula Pontikos, Edited by Nick Emerson, Production company Eon Productions, IM Global, Distributed by Sony Pictures Classics, Lionsgate. Duration 1hr 45mins. Cert. 15.

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Short and Bittersweet

Love stories can be rife and fleeting as this one, a tale told firstly by Peter Turner in his memoir. A British actor who encountered and formed a bond with the famous actress provocateur come auteur Gloria Grahame is the story he reveals. Annette Bening was found an ideal partner in Jamie Bell as a foil to her elegance and fire. Outrageously nailing the actress part, as you half expect, Annette Bening scopes out this story in a fiendishly accurate portayal suited only to an actress of her own standing. The part would be meat and drink to many actresses but it is a fine line to be over indulgent and too expressive and here the trap is held shut. Jame Bell is at ease throughout showing his own mastery of roles. Both run the mill of emotions. Bell playing Peter Turner is adept at being a chameleon he proves again here. He is in his element fancying a much more successful actor and getting back a mutual attraction.

Tabloids love sirens

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The Mirror Newspaper tells it as it is! But what on earth brought Gloria Grahame from palm-fringed Sunset Boulevard to the no-nonsense reality of Liverpool; from the gold-paved Rodeo Drive to Penny Lane, the heartbeat of the Beatles’ music?

To understand that, you need to know of the carnage of a life which preceded it.

You need to know why, on September 29 1981, a critically ill Gloria Grahame phoned Peter Turner from a Lancaster hotel and pleaded with him to take her to his home in Liverpool.

Told she was dying, she refused to believe it. She was convinced that her streetwise ex-lover could outsmart the doctors.

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Acting excels

Despite the sterling troubadour performances it is not immediately clear why it needed to make it to the screen. As a true story it was something of a two hander and the families of whom Turners feature quite significantly aware brought it as they provided a roof over her head while ill and in support of their son. It shamefully reminded me, through its resounding central casting of place, of the Liverpool series, The Liver Birds, or eighties series The Boswells. Stephen Graham channels his Liverpudlian spats as Peters brother with a curly mop of black hair and minor detail spoiler here he is Sans Moustache. No young souscer  in the ‘Pool would be a man without the Ian Rush, Terry McDermott, Graeme Souness, (Liverpool Footballers) and numerous others tashe in the early eighties. It might be because this household were Everton supporters. As a brother he is an argumentative but ultimately supportive type. Stephen Graham has little to work with. Mother Turner is the delightfully immersive Julie Walters striving under another era wig and suitable kitchen friendly poor costume selection. She channels her rough tongue Liverpool style. Also in the frame is the robust and earthily appropriate Ken Cranham. Vanessa Redgrave and Frances Barber have camp roles as Gloria’s mother and sister respectively.

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1981 to 1979 flashbacks galore

The opening is a scene which shows Gloria Grahame getting a curtain call for opening a play in the Watford Palace Theatre. She collapses and it is then forward to the diagnosis and then the games people play. GG had four husbands and two were movie producers of some clout. She also had great parts in some very famous movies from Oklahoma to Its a wonderful life. Hollywood provided the warmth and the pain. While we reel (no pun intended) from one scandal to the next the fakery of cinemas main value itself becomes an overlarge obstacle to truly absorb the experience as knowledge forming and it becomes a part of the narrative. This is one aspect of the film which it inadvertently assists in analysing.  GG also saw a realism she lacked in Hollywood in Liverpool.

Oasis swampland Hollywood

There is a dream called Hollywood and it often turns into a nightmare as recent revelations accord. This would have been even more so in Gloria Grahame’s time and she worked with the biggest stars around. Humphrey Bogart and Errol Flynn the latter whose life as a rake made progress to the escape through women of this ‘stinking bloody world’ as he patrolled the film world and beyond the affections of the siren film noir Gloria would not have escaped his attention of conquest. Errol Flynn The Untold Story by Charles Higham covers this sordid world or alternatively if preferred for sensitive folk, the ‘disturbed dream state’ of Los Angeles. Flynn’s own autobiography was a fictional version to cover ‘My Wicked, Wicked Ways’.

Gloria Grahame was not as careless wise as Flynn probably as the weakness for drugs and other substances harmed him during his career and despite this even a tamer version of him during illness, such as in The Prince and the Pauper brought screen brightness. Gloria Grahame’s screen presence during the same period was as an electric siren and idol for women having strength. So it is characteristically Hollywood’s pathos of touch to bring a dramatic and ruthless conclusion to her career.

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Another JAMES BOND

It would have been more interesting if the film had not laboured on it being an account of Peter Turners involvement in a few years if it were to introduce more of the wider career and then stories of great interest from her early years and her drawing those comparisons. Instead we are in third and fourth gear and stop most of the time. I5 became irritating to see the device of one door open and the change of time scale to change as it was made theatrical without it having any stage presence, never mind screen presence. It just was a formless device as were the backdrop illusions.

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Billy Elliot can dance

The thing Jamie Bell channels is his louching Chris Eccleston Everyman. The hands diving into his jean pockets, the legs, one straight the other pointed to the side. It must be an acting school think and though unlikely an in joke. The acting is theatrical as is the direction. Emphasis is on framing and static views mostly. It is clearly a choice of direction to scene set with the use of ‘backcloth’ motion and moving skies, sunsets and car drives. It does not fill a hole which is story size. Everyone who watches this film can see where it’s going and it’s not too cheerful. It involves the fall after the rise through a very debilitating period in the 57 year olds life.

Look Jamie – This is THE way to stand.

Conclusion###3

It is a dampener to place a three on this but it is full of very boring and unalarming notes. The famous actress is not as well known as some from the same period but the consumption of movies is multi-versed. Biopics are a subject which can serve brilliantly in Cinema. This one is a Case of a good cast being there and on their game without a robust approach to the story. They are a pleasure to watch as performers. They know the business. Billy/Jamie wants JAMES Bond. Barbara Brocolli is in the producers throne so you get the picture. You wanna be in pictures.

Over the recent past the scrutiny of the public is focusing on behaviors and they are at a loss a lot of the time what they are confronting. The mild manners of the male are in this case at opposites of the usual role call and the male is a cougars conquest and some detail of being used as well as loved is scoped out but it still did not add up to much for me unfortunately.

John Graham

18 November 2017

Belfast

Film Stars Don’t Die in Liverpool will screen at QFT

from 17th November 2017 until 23rd November 2017

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The Florida Project : A Film Review


The Florida Project

Director … Sean Baker, Writer …Willem Dafoe … Bobby, Brooklynn Prince … Moonee, Valeria Cotto … Jancey, Bria Vinaite … Halley,  Christopher Rivera … Scooty, Caleb Landry Jones … Jack, Macon Blair … Tourist John, Karren Karagulian … Narek,  Sandy Kane … Gloria, Jason Blackwater … Ticket-Buying Dad, Carl Bradfield … Charlie Coachman,  Jim R. Coleman … Cabbie (as Jim Coleman) Kelly Fitzgerald … Twistee Treat Girl’s Mom, Seitz Sabina Friedman-Seitz … Church Group Sarah.

Produced by Sean Baker, Chris Bergoch, Kevin Chinoy, Andrew Duncan, Alex Saks, Francesca Silvestri, Shih-Ching Tsou, Written by Sean Baker, Chris Bergoch. Drama. USA.  Cert 15.  Duration 1hr 55mins.

 


Synopsis

Warm, winning, and gloriously alive, Sean Baker’s The Florida Project is a deeply moving and unforgettably poignant look at childhood.

Set on a stretch of highway just outside the imagined utopia of Disney World, The Florida Project follows six-year-old Moonee (Brooklynn Prince in a stunning breakout turn) and her rebellious mother Halley (Bria Vinaite, another major discovery) over the course of a single summer. The two live week to week at “The Magic Castle,” a budget motel managed by Bobby (a career-best Willem Dafoe), whose stern exterior hides a deep reservoir of kindness and compassion. 

Despite her harsh surroundings, the precocious and ebullient Moonee has no trouble making each day a celebration of life, her endless afternoons overflowing with mischief and grand adventure as she and her ragtag playmates—including Jancey, a new arrival to the area who quickly becomes Moonee’s best friend—fearlessly explore the utterly unique world into which they’ve been thrown. Unbeknownst to Moonee, however, her delicate fantasy is supported by the toil and sacrifice of Halley, who is forced to explore increasingly dangerous possibilities in order to provide for her daughter.  a24films.com summary.

Baker’s immersive examination of lives lived in the shadow of a fantasy world holds no clichéd, feel-good lessons about love or families. Instead, it boldly takes us to a place where momentary joys, a mother’s devotion, and a spirited girl called Moonee can find a home.  QFT inticement.

If your growing up in Florida expect sunshine tornados and fantasy. The very grounded film The Florida Project directed by Sean Baker brings together as a societal compound, the life’s of a group of residents in a Florida State Housing project on the periphery of swarms of tourists descending on Disneyland and to play the local golf courses. The swath of colour which opens this film – unusually main characters cross as titles at the beginning – over a musical blast of dance music coming down the speakers rom Earth Wind and Fire. This is the sunniest intro to a film I have seen in an age. The ‘project’ is top to bottom, roof to car park floor, in lurid garish purple and other neon colours in shocking shades. The columns supporting the three storeyed open landings are a contrast in white. Under the staircases kids sit bored and vocally intolerant of it. They are the encapsulation of what The Florida Project is about. They provide the Florida orange juice effect in spades or by the juicer, wringing out their life’s path. A six year old girl with a fine skill of acting is central. Brooklynn Prince, real name! plays, literally, Moonee whose mother is in a flat on the second level. Bria Vinaite brilliantly gets to match her acting partner daughters skills and gets the vibe and process of this emotionally conflicting film. Both warm and scarily hard it is a take on contemporary America and also in its purpose a depiction of what it is like for a particular, and probably generally like for a kid growing up in these times and first on their mind to fulfill is the nearness of the fantasy which infiltrates the world projected through the adults construction of a world vision. The adult world also involves fantasy and fiction and is short stopped by reality several rungs along the rope bridge walkway they traverse.


This is America

Following on from the remarkable Tangerine filmed entirely on an iPhone director once again outplays other more prominent mainstream directors by choosing alongside the films chief Central pivot Willem Dafoe in a height of his skills, he has assigned roles to actors who are inexperienced and yet totally on message and getting the nature of this socially pragmatic fare. Brooklyn obviously has not acted before and the same applies to her little friends. Bria as the mother Halley is astounding and triggers all kinds of empathy and sympathy. The ensemble is by Sean Bakers method of hyper confrontational close up very unlike Stanislavsky and inward emotions hidden and difficult to read. The warmth of the piece is driven I think by the rationale of Willem Dafoes part playing the janitor come social worker and The Florida Project’s fulcrum. He has obviously put his fellow cast members at ease and allowed them to achieve a presence of themselves getting their emotions out and expressed. How Brooklyn has found the skills to act in this important shifting part is staggering to watch. She is not to be outdone by a legendary, Platoon, Hollywood elite actor. Dafoe is careful and knows these children’s own discovery and fascination – which the film outrageously brilliantly delivers in spades – the wonders of seeing the world open its peculiarities and beauty and dismal consequence of extremes of life. The tribulations are seen by the children as they are in the process themselves of interpreting it and this is simply another means. Astory told on camera and laid out by adults who ensure they enjoy what they are doing no matter how vexing or troublesome – lots of tears and tantrums – they know about.


Other side

Set on the wrong side of the tracks, the highways and roads leading to the fantasy capital – Disneyland – this is outside the tourist and hotel traffic of middle America or savings America seeing the fantasy in reality. It is far removed from the bought experiences of chosen illusion, the Golf Ball circuits and the entertainment hype is a commodity the people of the Project see as a daily crazy juxtaposition. Helicopters lift off as the children gesture finger wagging at the drone of the whirling bird ascending into another world. The children walk the edge of the drainage collection waterway. All but dried out and unkept. The houses beyond after the global property meltdown now lay empty and as a ghost of hyperville brought home to roost. The colorful dwelling each a reminder of the dreams sought and put up to obtain. Now empty the kids see the world as aa playground. A forest in their midst. The waterway hidden by reeds and alligators get a mention. The project itself is the left over spaces of a rundown hotel which has recut its cloth by leading to the State ‘The Project’ for a surplus of need. The hotel itself is out of bounds and only Bobby, Dafoe, gets to trade in the grounds by way of advising his host of the management he has in place for the breaches, and there are plenty, of the rules and regulations of fraternizing with the incomers. A fine piece of observation is the proximity of a Christian Foodbank which shows up outside the front of the Hotel to distribute food and wrapped meals and an abundance of donations. When they are first seen to be too close to the Hotel the host tells them to go round the back.


Poverishment

Form the early sunshine overspilling and the imaginative diversions – they are a directors guided tour of the elements of Wonder – the kids – Brooklyn mainly, set off on as adventure and the Aristotelian ethic of striving for arete, is seen – like the child seeking out the top of a mountain in its mind.

Brooklyn is on a mission. Able to know what a virtuos life might entail, they are on the road to – and Bobby, Halley keep their optimism up – to discovering a road of exertion is needed not only delving into intellectual or physical endurance, satisfaction, amusement is not always the co-traveller. These elements of the story are set to contrast with the adult plight of poverty and need with Halley and another parent, a woman whose daughter could not handle her granddaughter and they bond after a furious argument. The kids do to. The choices that Halley has to make are knifedege existence. To find her rent is a daily struggle. Bobby as ‘social worker’ is a kind, firm but fare Sargent. He is seeing this as a reality his own circumstances remind him of. His son is briefly in the storyline to show where he is and has come from.

There is through the film hope alongside the despair and the contrasting fortunes of each character is very well charged. Even the generosity of the Hotel patrons and a bit of criminal and predatory proximity is salt and pepper to the films societal examination. You will go a long time before finding a film so buoyant and atnthe same time drowning under the eweitghtbof the humanity flagged up so perceptively by Sean Baker and delivered by the cast.

Conclusion #####5
It is a joyful must see film which will have you feeling strongly about the sharpness of its meaning and perhaps for the portrayal of a filmic view of what must be a very familiar plight in America where the poverty is still a major issue. When you think of the number of homeless in GB at a level of around 350,000 you can Project and add some to the scale seen in the USA. Federal changes are rolling out and also incrementally rolling back with it becoming a lottery where you end up. This film shows one state project. The Florida Project is a beginning of a indictment of Republican Politics and failed, Capitalist based Obamanomics which itself is being pummeled and redesigned. You don’t have to be Aristophanes to understand where children fit in this future. The al to plain to see fantasy of materialism is captured in the simple existence of Moonee and her gang. Instead of the remake intended of the Lord of the Flies. The Girl version look no further to than this for a coruscating example of the nature of child’s anxieties and the place of them. It might be summer break and schooling is not on the agenda but healthcare and education as well as having a safe and good environment to grow up in is paramount. A good name for a flimsy company. The upshot is this is a terrifically emotionally complex film warm in its weird way and hopeful in its quest of putting it out there for America. An artist I spoke to Sean Campbell, who had conceived and created an American Stars and Stripes in a large Plastic Bricks (Lego!) on the floor of a Gallery at Platform arts said he intended to take out bricks as the show went on. I asked was this representing the dismantling of US values and he took the opposite view and said (or words to the effect) that it was an act of taking out individual parts as they can create the anew the future without that burden of the flag so often a wrongfully adopted symbol of nationhood or the individual. It is very true to look at the positive things as this film testifies. The burden is upon the individual not the state to act correctly – the state can follow.

with award season soon to be up there the prospects of a new Film World wracked with scandal and sexual abuse and exploitation there is sure to be no La La Land moment or Moonlight shading this years films.  The Florida Project sneaks in behind The Ghost Story as one of the best of the year.
John Graham
10 November 2017
Belfast

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No Stone Unturned : A Film Review

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No Stone Unturned

Directed by Alex Gibney, Writing Credits Alex Gibney, Produced by Maiken Baird, Executive producer, Trevor Birney, Producer, Brendan J. Byrne, Executive producer, Erin Edeiken, Post producer. Jonathan Ford, Executive producer. Alex Gibney, Producer, Eimhear O’Neill , Co-producer, Richard Perello, Executive producer, Greg Phillips, Executive producer Music by Ivor Guest, Cinematography by Stan Harlow, Ross McDonnell, Film Editing by Andy Grieve, Alexis Johnson, Co-editor Sound Department, Peter Miller, sound mixer. Aaron D. Kelly, voiceover recordist (uncredited) Editorial Department. Kyle Casey, digital intermediate producer Music Department, Robert Logan, Composer: theme music other. Duration 1hr 51mins.  Cert. 15. USA/UK.

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Event and Causality
The renowned American Documentary Film maker Alex Gibney, whose films include the very necessary expose on the American Catholic Church, Mea Maxima Culpa: Silence in the House of God, has had various responses to this films impending release as he exposes the U.K. Governance and responsibility in maintaining a veil over their own and other actions.  Some responses are to avoid being sued as the press tread carefully with themselves standing back from full disclosure like the Government are similarly practiced at.  The film is clear in telling you who the suspects are that carried out the massacre of innocent people in a Public House. It begins with a re-enactment of the attack on The Heights Bar in Loughinisland in Co. Down, in Northern Ireland.  Within 6 minutes on 18 June 1994 of the Republic of Ireland having scored a goal against Italy in a World Cup match in US New Jersey a hooded gunman slaughtered 6 of eleven who were watching the match on the small bars TV.   To this day no one has been charged or put on trial for the Murders.  3 took part in the murder and they are named in the film.

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No Stone Unturned is an account of a sole event, many other examples are out there of similar injustices and many have walked free of other atrocities due to the Good Friday Agreement. You can only say may God be their judge and those who don’t believe in that deity are left hung and dry as no judge is equipped to punish these evil and gross deeds of human on human. These were also fellow countrymen but through allegiances were divided just as they were in 1798 when, Protestant was to murder by hanging Protestant, in a stupid revolt which saw neighbour and family upon family divided and distraught with the hegemony of a warfare based on Nationhood. Both times; other cyclical events are similarly illustrative, are a betrayal of Gods infinite wisdom (love thy neighbour the most important edict) as the stark reality is innocent lives amid protagonists of creed or doctrine sought their supremacy over others. It is an absence of individual faith which is marked and it is not as the film realizes for viewers in or gift to forgive. Knowing the truth however is different and we then ask for the perpetrators to themselves ask forgiveness which is in Gods hands.

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State Corruption

The bigger implication and truth shown here in No Stone Unturned is the state of Power in Ireland and Great Britain and their manipulation for their populous of events. A code of directives within a state lead by Sovereignty itself in the grasp of evil. The USA which this film seems to be aimed at, became involved with a funding of terrorists rampant and raising a myth of Irish culture and history. The diaspora Irish clinging to the romantic idealism of their past ancestors and country. Some also exiled terrorists under the shadow of green permits. Many of those ancestors had to flee to avoid cholera and typhus as fellow Irish along with the British and State Churches, Church of Ireland and Catholic Church conspired to ship food by the ton out of Ireland, Meat, Eggs, Poultry, Grain. The evidence in all documents as they were billed up and shipped while all around millions were forced from the land and six million emigrated of which many never completed the journey. Often they fell dying on the beaches of Ireland and their bones and dust were taken by the tide and some buried in the shifting sands forgotten forever.

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The USA became a pawn of their own miscalculations and saw hubris in becoming advocates for peace – famously George Mitchell forged the Peace Deal. The unity is frail and inactive now. In the consequence of legacy as a side issue and traditions saw their slate wiped. Only victims, and internally perpetrators, carried the burden as innocent and public signals and noises of PR or a new propaganda of an unaffected let’s move on regime were way forward. Little attention other than a slow bureaucratic process were in place seeking to the redress as it became. No Truth Commission ever formed. A slow waltz of the truth leaking out and courts, human rights lawyers hidden seen in full view. So is the legacy tackled by Alex Gibney on one atrocity brings with it countless questions. He makes a few missteps unfortunately captioning for an American or wider audience such errors as 3,000 unsolved murders, or the captioning of 50 million of retained unseen documents relating to the ‘troubles’ still being held by the State Authorities.

When the USA became an outworker for peace through Clinton and a Visitors Visa (the film shows a clip of the ‘clipped’ Clinton at a press conference – he drops in Clintonesque the word limited Visa) to Gerry Adams it was seen by many as an easement of the USA position at the behest of the U.K. Government who would have given their aggrement to it. It has the unintended consequences result rule come into play. The loyalist extremists saw this as a reason to ratchet up their own crusade against Catholics and so violence escalated. Loughinisland itseflcacreaction to a group of murders.

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Evidence

This is but one atrocity and it’s links to others related to the Glenanne group were touched on but not dwelt on. The reason is than that link also leads to others in the continuos of entanglement. Showing in the film that ‘Loughinisland’ as its known, is not alone is one outcome of the film, and this account is a mirror of others as no Police Operation has drawn the suspects in for questioning on the foot of any evidence held or in their remit to obtain. The film makers were able however to obtain or be given a piece of evidence in the form of a document, a letter from one of the alleged suspects wife which named the participants one of which was her husband. This is also a piece of evidence, she might have known, implicated her in the organization of terrorist acts. This is itself a criminal offense. So are we to take it the evidence was from say a woman scorned, fallen out big time with her husband or genuinely reflective on her past and the awful act which followed the Planning she purports to know about. All unanswered questions. The suspects are named in the film, one shown.

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Commentary
‘There is a brief word from Tom King, Northern Ireland secretary from a little before this period. Mayhew died in 2016, but John Major, then prime minister and overall head of the security services at the time is still alive. So is Sir Colin McColl, head of SIS from 1989 to 1994, and Sir David Spedding, head of SIS from 1994 to 1999.’

This is a short but important quote from The Guardians Peter Bradshaw on his sight of the film and a reaction from a person with no agenda other than explaining his views on the film which are full of insight. It basically asks Who the hell knew? – Why was it considered expedient to go ahead with this atrocity? A question which is based on the films information that the event was known to be happening by Security forces, handlers of Informants. in the light of renewed optimism coming out of the operations of ‘Diplomacy and Special Branch/MI5 intelligence? What price someone’s life is basically another question need be asked of the State and those counsel of collusion and commanding those acts. The Royal Ulster Constabulary Chief Superintendent is at all times through the period before and since culpable and the likes of Ronnie Flanagan, John Hermon Hugh Anerissly, all were in Commanding Positions and during their time there was infiltration of their force, by any means, of a covert Security Army presence of an inside network and alongside corrupt Officers acting on their supposed agendas of dirty tricks using the – films illustrative point – informant and tout arrogate is aloud and proud in ranks of fundamentalist Protestant – no Catholic Officers of the force are likely to be involved at this – an inside armed Police unit. The Forces Research Unit FRU also get few if any mentions. A good book exists on the FRU. I remember it disappearing from all good bookshops (it was pre Amazon) as the State and Police presumably – who loved its content so much – couldn’t wait to get hold of every copy. I saw a dozen or more disappear from a certain bookshop which is Fahrenheit 451 and Stasi like. I saw a number myself being lifted off a shelf – all that remained – by a large man who fitted the stereotype of a Police Officer and it may well be he wanted them as presents for his co-workers or Christmas presents. The shelf never saw another copy replace them.

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All kinds of truth
Aporia is a word which comes up time and time again concerning never knowing the whole truth. ‘I’d been killing him for thirty years,’ he says, weakly, ‘this was just when he fell’. Like a Minnesotan Prometheus, his original sin was cleverness. Which is from Fargo. The Aporia episode where the recognition that most cops want a straightforward solution to a case, he provided one, means, motive and miscreant all. It happens everywhere in all unreconciled problems, an untruth happens to fit. The Guildford 4 and the Birmingham 6 loom large. Governments are full of misfeance and miscreants. The most appealing is the connivance with the realm of Sovereignty when the instructions come within the Castle walls – our Royal family – none of these dirty wars must come to the light of day.

Even the sacred hollows of espionage at Admilitary Arch moves on and it becomes a Hotel as of late. I have sought an answer as to the reason why successive PM’s and their Secretary’s of State have continually been concealing and burying literally in some cases the documental evidence and paper trail of the atrocities unaccounted for in Northern Ireland and the only viable answer – the families in this film continually point upward as did D. Cameron did when confronted by more questions within Downing Street by the Finnuacane family on their Fathers murder – with the meaning beyond Government rules must be adhered to and in such are the Church of England whose deplorable unchristian values entered the political games and dealt out suppression and national supremacy to maintain its own.
The underlying legacy is that their lies and conspiracies are the bloody current and currency that runs through the many controversial and tragic events of the past 30 to 40 years – Bloody Sunday, Dublin/Monaghan bombing, Pat Finnuacane/Rosemary Nelson murders, Omagh bomb, the list goes on.

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The actions involved during the violence of the late twentieth century in Northern Ireland and beyond into the twenty first century by the use of informants and insiders to push their dirty war was to maintain the controls of power. Past misdeeds would be and are still traded in for silence and inaction amongst the people whose way of life was chosen as violence. From Soldiers and their chiefs like General Mike Jackson on (of Bloody Sunday infamy) there is long roll of former Military perpetrators of acts of violence organised and overlooked by their peers. Others served, most who were Soldiers of conscience, yet their legacy is mental health problems arising from the first instance the reconciliation of the brainwashing of militarism and realising there are among us, alongside, those who are unchallenged and stained without remorse. A fair trial is often off the books also.

Fargo is nearer truth.

It was a pretty smart day’s work, all told. He understood the positions and motivations of the pieces on his board and made the necessary moves. More Fargo. This world like Fargo – appeared to be taking place in a haunted forest, replete with animal heads, crossbow hunters and decapitations, like something from the tales of the Brothers Grimm if they’d been animated by the German Expressionists instead of Walt Disney. Or reality. Or like the Big Lebowski on the morning after the apocalypse. There was a sense that it was an Other Place, a limbo in which no one questions the customers on why they are covered in blood and are armed with crossbows. Or guns. Because a now reformed (deacon or cathedral guide bought and transported guns from South Africa – 2 times – one a backed off photo call – the other the successful gun run) gun supplier walks God’s path unhindered except internally by guilt without absolution. Wrong kind of faith. What kind of narrative makes people act this way but the past – stories told as untruth – which encompassed soul transference, the life of Nachman of Breslov, the Massacre of Uman and a knowledge of Yuri’s cossack background, suggest an otherworldliness that is not uncommon to Fargo. Questions arise. Series/Episode 3.8 Who Rules the Land of Denial? Fargo.

No Stone Unturned was the false promise of Patrick Mathew while standing outside The Heights Bar in front of reporters looking for this sound bite and giving the British Secretary of State the primacy of writing down those prophetically and gruesomely inaccurate words, while a car with forensics was towed away, while a gun went to the forensics lab, while a holdall with balaclavas in it along with other items were taken away from the crime scenes locality.

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Detail is occasionally given to the viewer of this film No Stone Unturned but Alex Gibney is caught between a cinematic journey to delve into the human psyche to deliver a palpable story crisply told, and at the same time answer questions that have been left unanswered for longer than twenty years that go back into the origins of the violence meted out during the unpeaceful times. His motives are not questioned but his smarts are due to the tendency to roll out unchecked – the proposition 3,000 murders remain unsolved.   That is quite a statement and it is close to a very large number but probably nearer half is closer.  It also gave the impression the British Army were culpable in those murders not being solved forgetting the combatants – they were alongside and playing games with – were two sectarian groups intent on a national identity – theirs having supremacy.

Both were and are entrenched in, and inwardly opposed to, the concept of any settlement involving a shared community Border/No Border, and one which has had the historical backdrop of divide and rule since John de Courcy and Henry lll, the English Pope and the Wexford landings. Rule the coin and you rule the native. Roman was the guiding master of power then as now and several interchangeable imperialist dynasties have come after de Courcy’s time.

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Rupert bearly believable.

It is also an issue South of the Border. This is a report from a source. Bernadette McKevitt. In 2003 indiamond6.ulib.iupui.edu:81/fairtrial.html

Former Irish Prime Bertie Ahern has expressed his concern in relation to the “Stakeknife” reports, however once again he demonstrated how he was willing to let the media colour his judgement. One would have thought first and foremost his concern would have been to uphold a citizen’s right to be presumed innocent until found guilty by a court of law and to have criticised the trial by media that took place over the last number of days. It seems ironic that he was alarmed by the reports of MI5 operating agents in the “Republic” seems ironic that he was alarmed by the reports of MI5 operating agents in the “Republic” when one of those same agents will appear before the Special Criminal court Dublin in four weeks time to frame an Irish citizen. When approached by (me) in Portlaoise town during his election campaign last year, Mr Ahern emphatically denied any knowledge of MI5 agents operating in the 26 counties, he advised (me) to go to the Gardai if (I) had any information concerning this issue! How then does he explain Garda Assistant Commissioner, Dermot Jenning’s liaisons with MI5, where according to MI5 documents (an extract of which was read at a recent court hearing) Jennings had urged MI5 officers to “remove” certain reports that would have made David Rupert “an untrustworthy source”.

Glenanne Report

Some days have passed since a judge already ruled the Police unlawfully – Chief Constable ultimately responsible – frustrated any chance of an effective probe of the so called Glenanne gang killings count during the 1970’s. On the Historical Enquiries (HET) account they were disbanded in advance of an almost complete 80% (subject to corrections) report coming forward of the Glenanne investigations. Currently the Chief Constable ignores calls from the High Court to disclose the finished report by judicial review. Since the HET were found to be not fit for purpose and another ‘mechanism’ – again designed to heavily thwart process and openness, the misery of victims families whose lives were affected and whose remaining relatives are left without answers are still being subjected to undue neglect by the State on many fronts. The rights of man are ‘subject to corrections’ as justice is incremental and fragments are given which is subject to revision as new fact after fact emerge. That is the policy in operation – Operation No End. Having a committee dismantle the HET a new version came forward. The PSNI establishing an in-henhouse Legacy Investigations Branch (LIB) and insufficient resources were committed to it by Government. A backlog and raft of retirements put paid to any formative turnaround in truth recovery. It is absolutely repellant and undemocratic for the machinery of Government which is he people’s representative servant to be engineered by a Sovereignty which is outside their control or answerability. The latest control broker is James Brokenshire whose MOD allegiances are clear.
Nothing will be revealed under his watch is his mantra. His predecessors presumably sanctioned the payment of, in five years, £1.8m to informers. That does not include the human cost and manpower running those ‘agents’. So his use is perpetuation of this ‘intelligence’ network while he refuses to fund additional independent work on the Legacy trail. Emptying the bins is not his mantra. The waste management is sterile and a paper trail however clean is buried in a sinkhole of platitudinous and vile commentary. Collusion, conspiracy, corruption is rife and the truth is their enemy not their ally. Faith will come someday I would hope.

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Conclusion ####4

The film is full of intense meaning and is purposeful in telling the basic constituent parts of one atrocious event in the deaths over many years of exhausting violence. Proof if it were needed of the acts of collusion and cover-up are documented. It opens up questions concerning the further crime showed of destroying forensic evidence. A holdall, the murder weapon, and even the getaway car all provided as did the location it was dumped trails of evidence which an uncorrupted Police Force could assemble a case from. The shocking examination of the event of The Heights Bar Shooting is in plain sight as a Corruption of the highest order and implicates the regime in control at every level. It provides the viewer with the names of the suspects which are in the mind of the Police Ombudsman, whose own part takes a primary part in disclosure – without removing the code for the assailants under suspicion – is disturbing and a source of mounting anger, discomfort and discontent, not just for the viewer but it must feel as a breach of basic trust in our Security Forces through their manipulation by state agencies which this film clearly point to. The charm offensive has to stop and the documents which are held back – intelligence on perpetrators a resource which would answer many questions is self evident. I found this film hard to take and despairingly forming a worse opinion of the operatives on many fronts. As the above has a tendency to wander in review so anyone who sees this film will go on their own journey and it does not stop there. It is a need to make peace through truth and knowledge. Another realisation brings this phrase to mind – You get used to things, without getting used to things. Paradoxes fold into each other and the atrocities too are linked by self evident truth that faith had been principle in denial.

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Today I went to a talk and reading by Michael Longley which centred on the First World War and poetry arising from it and during it.  Some lines are worth noting here.  Highest among them I took the poets own words after reading a War poem by Edward Thomas. “I think our world is still in sorrow.” and he added as time was closing in, “I have so much more to say.” There were words about the finish of War and one of Siegfried Sassoon s saying “All of a sudden it’s over….. and we can all go home.”  A call as it were by the angels.   Another phrase. Beauty is like the setting sun.  The singing will never be done.  Michael Longley here added….. “the singing never was done, we have done nothing but grieve since.” A reflection from the son of a boy who went to war at sixteen, killed as ‘Citation’ reads at nineteen, and survived to have his family. Michael having a twin brother whose life was taken early.  The words came forth from Michael as in memorium.  The Seigfried Sassoon words again. ‘You are too young to sleep, and when you sleep, you remind me of the dead”.  Think about the people who go to sleep tonight, each night with them thinking about the memory of the ones who went to sleep and sleep with them still in a silence.

John Graham

8 November 2017

Belfast

The 6.00pm screening on Wed 15 Nov will be followed by a filmmaker Q&A (details TBC).

No Stone Unturned will screen at QFT from 10 November 2017 until 15 November 2017.

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The Killing of a Sacrificial Deer : A Film Review

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The Killing of the Sacrificial Deer
Director: Yorgos Lanthimos, Produced by Ed Guiney, Yorgos Lanthimos. Written by Yorgos Lanthimos, Efthymis Filippou. Cast. Colin Farrell, Nicole Kidman, Barry Keoghan, Raffey Cassidy, Sunny Suljic, Alicia Silverstone, Bill Camp. Cinematography by Thimios Bakatakis. Edited by Yorgos Mavropsaridis. Production companies. Film4, New Sparta Films, HanWay Films, Bord Scannán na hÉireann/The Irish Film Board, Element Pictures. Duration: 2HR 1MINS Cert. 15.

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Synopsis

Dr. Steven Murphy is a renowned cardiovascular surgeon who presides over a spotless household with his wife and two children. Lurking at the margins of his idyllic suburban existence is Martin, a fatherless teen who insinuates himself into the doctor’s life in gradually unsettling ways. Soon, the full scope of Martin’s intent becomes menacingly clear when he confronts Steven with what appears to be a long-forgotten transgression that will shatter his domestic bliss forever. It is not until midway through the story takes an unexpected twist but it requires a stretch of the imagination as to is basis.

Variety Magazine reviewer Peter Debruge writes of the tome  – Nara Park, Japan, spotted deer were long believed to possess divine properties. To cause the death of one, even by accident, was a capital offense. Halfway across the world, in ancient Greece, King Agamemnon learned this the hard way, invoking the wrath of the gods for killing one of Artemis’ beloved deer, for which he was obliged to sacrifice his own daughter, Iphigenia. The obvious lesson: Don’t kill deer. But what if the deed is already done? … it does feature two key scenes in which a hunting rifle plays a critical role.

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Pulse racing performances

Colin Farrell in his element as the the male archetype in the movie by Yorgos Lanthimos’s “The Killing of a Sacred Deer,” whose films have found a co-conspirator in the shape of Farrell.  With jest, indirectness, satirical amusement along with Nicole Kidman he possibly continues to play with audiences in the after screening press interviews – this is after all part of the intruque which filmmakers keep up the hype and surrounding mystery of their film.

I think he and indeed Nicole Kidman are entirely onboard the bombast and delivery of cinematic cathartic supernatural realism which they connect on with the directors flaming lunacy. As it is another bizarre take on all our lives and all humanity swerving to avoid the nasty death scenario, which was brilliantly provocatively absurd in the Farrell and Lanthimos tale Lobster.  https://johngrahamblog.wordpress.com/2015/10/22/the-lobster-a-film-review/ Here normality takes a central role and gets turned upside down by an outsider. Using a medical backdrop is crucial in our expectation of ourselves burying thoughts of fate intervening and Farrell is a composite survivor. He is both survivor and repairer.  Clinically adept at keeping people alive where major organs go into a test of will against your brain in trying to tear down each edifice constructed to thwart the reckoning.  Dr Steve is intimidating in an unfashionably easy going way. Never one to concede he up’s the ante every time by diverse and quite clearly self deception with his wife Nicole Kidman is a fellow traveller on the make believe.

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A shape of truth

Lanthimos has constructed the archetype in the Jung manner as a universal truth or shape of the truth. The pathway to success of any kind having choices in respect of home life and family as well as protecting the young ones from evil and ensuring they too have a chance to exploit their potential. Full realisation is probably what Lanthimos is aiming for and the troubadours are both Kidman and Farrell. It is not all things in the sense of any universal truth but realised as section of it. I thought throughout the film of the scenes playing out as sections of life’s absurdity placing its own direction in front of everyone in a happenstance way. Jung’s was more a collective idea, of possession of inherited unconscious idea, pattern of thought, image, etc., universally present in individual psyches. Mastery is debunked here in the film lots of times.

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A boy who is revengeful and is prostyled as a God with special powers. The film opens beautifully with a Franz Schubert choral heraldic outpouring of the master at work. Colin Farrell at work as the renowned and respected heart surgeon Steven Murphy alongside a rich but inferior cardio-anesthetiser Matthew. The whimsy feigns on the walk through after the operation we’ve just seen as they exchange the bourgeoisie optics of a choice in diving watches. Steven is quizzical and monotone. Reviled, known, accepted. Dr Steven is after none of these attributes to adjust his psyche, he just portrays out the facts, the shape of his and his family’s life in their simplicity. At home this is particularly evident when the tasks are divided on the grounds of logic. For instance Bob their son who declines to have his hair cut before a school party is told by his father in gentle reasoned terms that it is too dangerous for him to walk the dog.

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Characterisations

Nicole as Anna is splendidly anti-Stepford wives as another archetype and is happy with the odd indiscretion and is as a clinician and I think of ophthalmologists thus, able to smoke the odd cigarette, it may even be weed given her off the cuff and leisurely comfort when indulging in a smoke. It is the same with Steven. A scene or two throws up their bedroom routine which is also a vision of their private selfs when this coupling is itself purely on their terms and not a formulaic expression of love which ‘tropes’ ‘protoreality’ might encumber them with. I think Lanthimos has, and it’s almost hidden within the film as a calming notion, a signal the achievement both have is the joy of sexual love on their satisfying terms. Without any sign of inner anxiety Anna embraces the composite union of their sex life as a non material act or with either partner having a dominant leading part. The parts are equally erotic and evolving. The nuances again are played out through the medium of their adopted speech patterns so it only becomes tangible – for them as human beings acting on their own instincts, and as a satisfying ultimately pleasurable and worthwhile shared gift – it spools out (film simile!) when they are in silence. Give or take a few noises off. It is one way of looking at their world but then the horrific enters and upsets all parables or prophetic notions.

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The covert boy steps up

Early in the film we get to know of a boy who is close to Steven and whose relationship might even be taken as a divorcees son having set times for meeting up. That’s not the case and their meeting is also not thought to be sexual but presents us with a problem why and what it actually amounts to as it passes on covertly. Barry Lonegan who turned up alongside Mark Rylance on the boat in Dunkirk puts on his best American accent (a very good all round take for a young Irishman) plays Martin whose father died on an operating table with both Stephen and Matthew holding the dinner plates. (Defibrillator needed?). For Martin it was a murder and he embarks on a conversational journey with Stephen.

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Quite how Dr Murphy allowed himself to be a foil for a Martin in the first place is beyond reading. They meet in picturesque, solitary open aired spaces under the Cities bridge, Cincinnati a likely location but it’s an anywhere place. Or they meet in a cafe or diner. The set up is odd to say the least and part of the ensuing implausibility which never looses it’s annoying grip. Allowing for the metronome action of sections of life going onward, in which most is highly predictable, an illusion is constructed to be shattered. At around midpoint dark and strange unexplained things happen.

Martin has acted to visit these appalling life changing acts upon them or that’s the premis and the family Murphy are drawn into a battle with life itself. The rolling story is now at its scariest and darkly intense. Moods alter somewhat with Doctor Stephen no longer a spokesperson for medical triumph but is set on a course to discover it has no solutions to what seem to be psychosomatic conditions. A fanaticism/realitist is in the Nicole Kidman stroke of genius as she alters her verbal continuity of external wafer thin communication in unison with Steven – they up to then are participants in a fantasy neither want to disrupt – and she is the fluctuating chime on the timepiece that is misbehaving. Family Murphy are in chaos.

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Superbly realised

The cinematography is immersive and beautiful cleansing as each location is pristine and choreographed to within an inch of is serenity. The nerveless cascade of a couple in the wonderful lifestyle and home immunised American success story is where we begin to intrude. Nicole Kidman plays no lesser a wonderful medic as an ophthalmologist with her own clinic and she is fit to the boards in terms of screen presence and the couple as actors share this gift of portraying absurdity as normality. Farrell in Lobster and Kidman in Dogville, The Hours, The Beguiled.  The cadency of this pairing is part of the fallacy, false world we are to be absorbed into.

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I chose the word cadency as it is primarily a function of both actors to not use any voice technique which is normalised. As with the a slight falling in pitch of the voice in speaking or reading, used by Colin Farrell in Lobster, he perfects once again the clinical talking and its as if it’s being read asa read through. Except the story is entirely told this way. Nicole Kidman to a lesser extent engages in this device and the deliverance is acutely jarring and then mediates as a voice of comfortable upper middle class America or any national ‘pride’ in being along for the merry joyful ride. You begin to wonder are we going down a path of horror movie and revenge driven hate for an act of – it is never conclusive – on the operating table accounting for the pain inflicted. Satirical, metaphorical, meta psychological it may be but once more Yorgos Lanthimos’s direction is not potable as any cocktail of these genres.

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Pain is at the end of the line always

At around halfway as I’ve noted earlier the film takes a nasty turn. As a revenge movie and it’s formulaic only in the sense no one gets out without pain or hurt being inflicted and even death is a visitor, it provides twists and agonising drama cinematically intense and involving. The cinematography is a clinical beautiful sweep of the inner pages of the narrative with also real emotional depth in close ups being sought out alongside the framing of rooms and corridors methodically and invisibly forceful. The colouring is contrastingly sharpest when a few bloody acts are contended and claustrophobia kicks in the deeper the harm becomes.

To elaborate further on the different scenes or twists taken would be to spoil the immediacy of the shocking effect which happens often. The black comedy and satirical take on supposed bourgeoisie is not a place to park you ideas but as a troubling film it delivers much more. It is no laugh a minute for the child actors and strains a bit however adaptable and good they are. Kim (Raffey Cassidy), a wide-eyed teenage girl, and her younger brother, Bob (Sunny Suljic) are the children in the story and they will be equally perplexed as to their part in it.

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Conclusion ####4 

The breadth of this film does not match the previous works of Yorgos Lanthimos but is need not be compared to his previous work given each piece is of a particular well honed view on life as each narrative shows separately the energy and profoundly valuable cinematic experience it composes.  Neither should you be too troubled the male character is again in the place where blame arises.

This film is a dream like journey of success which is destroyed by the traverses of life which interrupt and have elements of love and tragedy.  Sacrifice is a huge word.  The greater claim is what haunts this film which is at times horrific and bloody (Cert.15) and it graphically delivers both the beauty of a deer and the tragedy of a killing.  If you also park the male lead again ‘to blame’ in the absurdity, you’ll get by.  The surrender or destruction of something prized or desirable for the sake of something considered as having a higher or more pressing claim means Dr Stephen makes a choice holding to these thoughts. It is a claim therefore of the Director that good people become spoiled by apparently small acts and reason is lost. On both sides of this film anger is controlled until an awful outcome seems too – and you have to go along with the absurdity to aquaint yourself with another reality – is visited upon this happy successful family. A success which is based in medicine.

We see the surgeon at work and incidentally also dealing with saving lives routinely. As a hero he does not embrace the healed or the recovered in a heartfelt (sorry for the inexcusable pun) hug but routinely moves onto the next endeavour.  This is a brilliant conceit which Colin Farrell masters along with Nicole Kidman whose acting is superbly nuanced and provocatively challenging to the twin peaks of the present and the past.  Surveillance of the present and going forward as one is their menacing, troubling (to any outsider now in possession of the view) attitude and behaviours grit and twist while the plausibility is tested with pathos of speech styles and patterns forming.  It is both breathtakingly smart and highly disturbing and we’re it not for the completely visceral violent content which is in all probability actually close – you could imagine – to a real life tragedy – it is nevertheless a troubling element of the film and not a five rate drop film.

John Graham
2 October 2017
Belfast

The Killing of a Sacred Deer will screen at QFT from 03 November 2017 until 16 November 2017.

 

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Bad day for the Cut : A Film Review

Bad day for the Cut

Directed by Chris Baugh. Written by Chris Baugh and Brendan Mullin.

Nigel O’Neill as Donal O’Neill, Susan Lynch as Frankie Pierce, Józef Pawlowski as Bartosz, Stuart Graham as Trevor Ballantine, David Pearse as Gavigan, Anna Próchniak as Kaja, Stella McCusker as Florence, Ian McElhinney as Eamon, Brian Milligan as Jerome, Shashi Rami as Vivian Lalor Roddy as Leo McMahon, Ryan McParland as Ossie, Andrew Porter as Damien.
Production Katy Jackson and Brendan Mullin, Music by James Everett, Cinematography by Ryan Kernaghan, Film Editing by Brian Philip Davis. Six Mile Hill Productions. Cert. 18. Duration 1hr 39mins.

Before I start I update the blog as I’ve discussed s covered the meaning of the title but not its allusion to the Film itself other than a lot of people get cut down.  Apparently it’s an Agricultural colloquialism – I’m sure it’s not confined to Tyrone, or Antrim – and it is when the conditions are foul or the forecast is foul for the necessary cutting of crops and harvesting.  I hope the Sundays Harvest Service (29/10/17) All Souls Church goes peaceful and s uneventful. Today (Sat.) the preparations are going well inside, decorating ever nook and cranny.  That is Entrance, window cills, corners, pillars, pulpit and Choir pews. Looking forward to it.

Debut promise
The Chris Baugh debut feature Bad day for the Cut is a modern Irish revenge thriller with a broad scoping and complex plot driven along by the dark secrets of different family histories in this troubled province.  At times it becomes a trail of bodies and sets off after a flashback, more later, with a farmer living the quiet life with his mother in an Co. Antrim farm.  Scenes of domestic rustic rural harmony  prevail with the caring son Donal (Donal O’Neill) eager to ensure his frail mother is not neglected and this is seen initially as a caring need and relationship.  Donal is fond of shooting rabbits for a stew and his country and western music, which is not a rarity here and he listens while he fixes old cars or does work on anything that takes his fancy , away from the tedium of routine farm work.  Into his existence comes another star of the film a neglected Transit as a payment for work on an old banger which he turns into his boys shed over a period of time.


Open Country

Donal’s world becomes forever turned upside down when he catches the wrong end of an act of violence one night at his own home.  An absentee from the film are the Police except for the presence of two Detectives (back view only) as a result of this disruptive and gruesome act of violence at the farm.  This is quite probably due to it being entirely filmed here in Northern Ireland were the risks of reprisal are clear sadly and it may be why ‘impersonation’ was not an option.  From then on in the violent frenzy that happens they are not to be seen. Filmically too is a stoic political call by the Director/Writers on the Scandinavian noir of clever troubled detectives not being a Northern Ireland familiarity.  (Shallow thought!)  Crime fiction is a local speciality (look up No Alibi’s independent bookshop) and like this film it is seldom a reflection of more destructive truth no matter where the written word takes you.

Donal is completely at a loss to explain why this atrocity has happened until he himself becomes a target of violence. Then the wheel turns and it is his turn to act. From small beginnings Donal is now the avenger/revenger and the genre becomes a wide expanse of multi-cultural links forming a jigsaw puzzle no one has completed image of and it is this we are drawn into.  The Latin word, synonym, for incredulous is Aporetic.  From the word Aporia which is thrust into and occupies much of Northern Ireland rhetoric.  The film could have appropriated that name.  A local artist, Gail Ritchie has a forthcoming show at Platform Arts Belfast on external War memoria which will co-incide with all kinds of Remembrance. This film is about not knowing the full story as people never do.

Aporia : a difficulty encountered in establishing the theoretical truth of a proposition, created by the presence of evidence both for and against it.

For empathy and good versus evil there is no actual clear station of rectitude or resolution.  Once Donal is in his revenge mode he looses any rationality or credibility.  One feature of the film poster is its likeness to the Spaghetti Western standards, Django, Fistful of Dollars or the one with a Belfast connection – A Town called Bastard starring Robert Shaw of (some connection!) to these parts. This genre approach is a virtual context and allusion which is narrowly made.  Comparisons of inner city hoods can be found in the Dublin centric Cardboard Gangsters reviewed here earlier.  (Put the film name in the white box top right to obtain the post likewise other notable films)

While it is true the chronic violent riddled town/city certainly Belfast and Northern Ireland has been, with its tragic magnitude of violence and as it still has hurt as an undercurrent to the everyday, the post traumatic shock has embedded in many citizens whether directly affected or not. Hence the medical bill.  Other cities are subjected to variations of the lack of moral discipline and the film tries to reflect here in Belfast the story of families affected by their tragic misfortune and wrong choices theirs or others.   I happened to be re-reading a chapter or two of the 2000 book, Northern Protestants – An Unsettled People by Susan McKay which documents district by district across the province the interrelation of acts of destruction and their impact and legacy left of very similar disregard for life.  The untenable becomes tenable and the ‘new normal’ (media speak), goes further as past lives causal projection is cyclical which is seen as one of the most forceful effects of this film.  Unforgiving and God forsaken is the message to be taken in deploring all acts of violence and the meaningless outcomes they accumulate. The ‘actors’ of violence perpetuate the hurt creating new grave passages.


Currency

New times have arrived and racketeering and the gangster riddled combatants work the undercurrent of a superficial peace.  Memories and family stories are woven in a weave no one has a complete picture of.  Aporia.  An unlikely mobster is a family woman.  Susan Lynch plays her femme fatale best inhabiting the part brilliantly, her face expressing rage, inner strengths, bitterness and she conveys potent sexual latency as a jewel among thorns.  As a highly driven woman her role is large in the film as she is intent on achieving her objectives regardless of the cost but with a motherly hand towards her own daughter in contrast to her own past.  So two vengeful people are the at the centre of the story and the opposites create a battle of wills.  Let the contest begin or as Northern Ireland has it continue.

Without a male partner she runs a prostitution racket with her stock and trade initiating in a bodies count, a ruthless and violent streak of heavy malevolent business as she tries to remain in control.  There is no indication for the largesse of wealth, – ‘the drive’ is Belfasts go to hidey hole, – she has become used to as she brings up a single child, 5 year old daughter whose exposure to the everyday business is mostly obscured though Mother does let her mouth loose with words and temper tantrums no child should be witness to.  The script realises it but it is ‘accomplished’ in one or two scenes.
The lead male character and co-driver of the film is the large stocky farmer we know called Donal O’Neill, played grittily and with determined off the scale rage, a man in his fifties whose part in the machinations or outcomes of the ‘troubles’ is miraculously innocent and of little affect.  How he has avoided the obvious is not clear.  His mother Florence is portrayed by Stella McCusker, whose part requires a completely convincing woman carrying as many women in the country do, a burden of grief and remorseful tears locked up and unseen while secrets are held. Stella McCusker carries it off superbly in a sensitive subtle nuanced way, with her reservoir of theatre and film expertise, the convincing portrayal of a woman with memories, secrets, worried but still in charge of her own world courting for us nevertheless a source of intrigue. Acting as a shield to others, her offspring, her peace is disrupted as the past unravels.

The film opens with to revenge taken on a man in palliative care with a breathing mask filling his lungs with oxygen while he is in the last stages of life. Lalor Roddy is the man. With his usual prime attendance to his craft he opens the film in an interesting short introduction which turns out to be a flashback.



Sunny skies

From there the action returns to the present and a Northern Ireland picturesque and getting along nicely with the entrails of back office culture jobs and telephone call centres in the very heart of Belfast City.  New tech and science STEM is a sole captivator of nuanced 21c life.  Sidelines are the artistic interpretations. Game of Thrones being only a symbolic us of this Ulster theatre in a vaguely conjectural transportive escape.  Capers and criminality is a parallel world real and unreal.  Life in redressing the postcard image is on message. Any murky past is not for outward consumption. An archive of injustices and the undealt with past is locked up in memories along with state and terrorists files never to see new light. Property is lush and shows signs of prosperity as the braces are attached to pull up the ragged trousered philanthropist cloth of the Linen City in true entrepreneurial Ulster style.

The past traffic of ingenuity which was and still holds up, is scotched by the economic equator we live on. New commerce a roguery is the diet we enter. The other villainy is the stock and trade of impure violence.
The vision in the film is of the fictional underworld in a confined and largely inaccurate form.  It is a fiction based on contemporary instinct.  No telling of the real story would be sufficient as access to understanding. These strands are separated and contingent on whose version of events you believe.

The truth would be completely scary and would in many cases lead to greater unconstrained levels of revenge violence – excepting the likehood generations are unlikely to form into self-destructive groups – except the no-hopers hanging on to the coat-tails of handed down myth as a means to lever power and accentuate their projected legacy of ill read history and infect new generations with their appalling virus.


Whether the film is embraced as a depiction of a society continuing to be incapable of dealing with its past and truth hidden harbouring realities of unspeakable betrayal and insurgence is questionable.  Outside the Island the narrative will come across as a unnerving catastrophic revenge movie full of provocative instinctive shades of red mist exploding causing more cyclical damage and as an action piled up body count it puts it on the same shelf as revenge thrillers of equal intensity – it will be interesting to hear how the Chinese subtitled version went down. It is already out of the blocks as it premiered at The Egyptian Theatre at the Sundance Festival last year and Edinburgh Film Festival and was locally was the closing film of the Belfast Film Festival of this year.

Because it is adult cinema and particularly a local community based narrative with a fictional web making connections to many people’s lives and understanding of the legacy in their lifetimes, it is to be toured across Northern Ireland in venues chosen to bring out a wider audience than the ‘Moviehouse’ screens across the province.  The tour dates are below.  As a film of universal cinematic value it also is intentionally provocative and any tool in the box – lead character Donal is a man whose ingenuity is seen as someone who reaches more than metaphorically for what’s handy, ‘that ‘ill do the job!’ – which makes people deal with their own past and the get on the path to resolving differences of blockchain theory’s in their heads. New light and fresh dilemmas are surmountable only if the past is recalled with truth and remorseful probity.

Dark light

Polish actor Józef Pawlowski as Bartosz, Anna Próchniak as Kaja, carry the new international phenomenon of a transitory youth into Belfast and Ireland.  Neither have a desire to remain here and one of them has stronger reasons than the other to get out.  By scoping out the story the writers bring a reality of immigrants settling in a cove of their own narrowness through concern of not belonging and integration torturous and complex with the backdrop of sectarianism on acting on their will.  Existinence is survival to be built on.  The tailoring of other characters, chiefly the hoods is deftly cast. Florences younger brother Eamon (Ian McElhinney) is a townie who keeps himself away from trouble and leaves it in the past. Stuart Graham playing Trevor Ballantine who is the no.2 to Frankie likes to be suited and clean shaven.   He gives off an air of being on the precipice of incompetence while unaware of were he is and what his motivations are. Why he chose the work is pure guesswork and he is always one step behind the curve. Frankie on the other hand is a woman who is compelled to joining the action as her edifice crumbles. Bartosz and Kaja are in this drama up to their necks and centrally Józef Pawlowski excels working alongside this mad bunch out on the edge of their acting chops and getting into it with as much nuance as his eyes can convey. A learning experience for all no doubt.


Conclusion ####4
Like a narrow gauge railway traveling too fast this is a train of thrilling revenge souring and escalating beyond redemption and for practically all on its journey the lurching and weaving slow down and wrong turns add up as the film careers out of control down into some soon to be discovered abyss.  Then there will be silence. There will be liberty.  There will be peace.  Not on these terms the cast say.  We need a result to suit our knowledge and our grief is the premise.  We do it for the sake of everyone gone before and to follow. By being completely deranged ejjits high on the adrenaline rush of survivors instinct they boil the stew of violence into a deathly conclusion.  The deliverance is summoning up lots of sage parables while partly glamorising the affects by not making it dark enough.  They skip the bloodied heads, the unrecognizable body parts (I conject for the possible scenes the viewer may or may not see!) and it draws back to gain audience retention yet is still Cert. 18. A badge of dishonour?  It becomes a shade predictable and no character really is seen as someone to empathise with save the foreign ‘visitors’.  Those need foreign audiences.

Be warned it’s mad and at times bloody and totally bonkers.  It has a feel of a step back to following in the aftermath of spaghetti westerns trying to find a new field. The field is Belfast/Templepatrick with the North Coast of Ireland thrown in for chutzpah. Slightly demented but truthfully entertaining as a misguide to the violence around us.
John Graham

20 October 2017

Belfast.
The 8:30 pm screening on Tues 24 Oct at QFT will be introduced by writer/producer Brendan Mullin and writer/director Chris Baugh.  After a run at Queen’s Film Theatre (20 – 26 Oct) the tour calls at:

The Picture House (Ballyclare) 28 Oct
Portrush Film Theatre 9 Nov

Subterranean Film Club (Omagh) 10 Nov

Dungannon Film Club 15 Nov

Fermanagh Film Club 15 Nov

Newcastle Community Cinema 18 Nov

Foyle Film Festival (L/Derry) 23 Nov

Tí Scannán (Mullaghbawn) 1 Dec

Some events will also feature Q and A session with Chris and Brendan (tbc) so audiences will get to hear the (literally) gory details of the process of making the film and taking it to the big screen.

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The reality predicted in around the late 1960’s by Guy Debord never took on the self-radicalization of people as combatants for nations but it has tangible companionship as his fellow traveler Raoul Vaneigem accounts in The Revolution of Everyday Life.  It is a form of prophecy as is the intended alteration of history which combatants always see as their revolutionary act in their age.  The violence continuing on a scoping out of spectacle for themselves.  We are not just talking about the phenomenon of  ‘Mad Men‘ and spin but the vestigages of memory remployed as almost regal revelatory mindful discovery.

Inauthenticity is a right of man … Take a 35-year-old man. Each morning he takes his car, drives to the office, pushes papers, has lunch in town, plays pool, pushes more papers, leaves work, has a couple of drinks, goes home, greets his wife, kisses his children, eats his steak in front of the TV, goes to bed, makes love, and falls asleep. Who reduces a man’s life to this pathetic sequence of cliches? A journalist? A cop? A market researcher? A socialist-realist author? Not at all. He does it himself, breaking his day down into a series of poses chosen more or less unconsciously from the range of dominant stereotypes.”

Fraught : A photographic interlude


Fraught worlds subside

SARC and the hearing experience

Few places free your mind like SARC.  Open today for a lunchtime performance by Frances-Marie Uitti for a blistering bewildering controlled journey in Cello polyphonics we were treated to this composers playing of a new works, one with accompaniment of Franziska Schroeder of SARC came a wonderful excursion through the places they have explored in experimental music.  On Cello the first piece was a setting of a work by Jonathan Harvey (1982) Curve with Plateau.  It at first sounded delivered straight from the Cello without monitors.  Then it became clear it opened up in binary speakers.  Taking in high straining notes symbolic of a curve it dropped and interweaves as a duet of sound like it was lineage of controlled nature in balance and fraught with counterpoint.  It challenges and transports then coheres as a watery path of sound in this auditorium a special rarely found and simply absorbed warm and breathy work.

Next came what is a piece by FM Uitti, an excerpt from Utopia (2015).  Built on classical lines it is a twisting resurgence of fine percussive beats and primitive rhythms played as Cello in counter sometimes double bowed mellow bass like Cello as another contest of vibes.  This time it’s considered, notes inform, as East : West with no complacency or stopping.  Machine sounds from F M U’s library of sound embrace the stifling proximity of intransigence with overtures to power held and thrust as dictates or trampled on as put down.  It too became a piece of remarkable playing in this auditorium.  I compared it to Drum and Bass with effects at a level taking in primitive basic sounds and echo was only in use as a spatial quality transporting listeners to a desolate and machine dominant sphere.  Samples prove to be a good tool with them in use not as stand alone found audio but as here used in overlayers and undershaping sounds.  The tomes of City etc. as literal devices have little use as these sounds cmbinecas unique and unheard sounds oblivious to our connection with those words.  The simple thing it projects is to a Utopia which we cannot see but might hear.

The final piece was the collaborative piece was reminiscent of when I heard Jan Garberek and The Hilliard Ensemble perform in close proximity.  JB was about a meter away when he began the concert and this time no tenor, counter tenor, or contralto but a fusion of ‘bird’ talk’ between two instruments.  The Cello and Saxaphone.

If more info is wanted follow improvasionalresearch.com and the SARC site where the binary headphone experience is to be mixed and put up for a representation of the above through Sonic Performance spaces 34 speakers.  That will be entirely different form the performance but a huge almost surreal transmission of it.  sarc.qub.ac.uk events will find you in the place.

Next Art from corners

Line and Litho 1

Improper Knot 2

RUA Time-Out (Children’s ante-room is a relief)


Metal object 1


RUA Fun Item 1


Binary World (after RUA work)


RUA 2 Fun is discernable?


Metal object 2


Portrait (after BP neck stretching exercise)


Metal alchemy 1

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Food corners

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Interior folds out

 

John Graham

12 October 2017

Belfast

 

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