Cardboard Gangsters : A Film Review

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Cardboard Gangsters

Director Mark O’Connor. Writers. Mark O’Connor and John Connors.  John Connors as … Jason Connolly, Fionn Walton … Dano, Kierston Wareing … Kim Murphy, Jimmy Smallhorne … Derra Murphy. Remainder of cast listed alphabetically: Paul Alwright … Glenner, Alan Clinch … Whacker, Stephen Clinch … Ross Kelly, John Dalessandro … Lukey, Damien Dempsey … Curley Murphy, Gemma-Leah Devereux … Roisin, Kyle Bradley Donaldson … Stephen Kelly, Graham Earley … Evers Dempsey, Tristan Heanue … Kieran, Fionna Hewitt-Twamley … Angela Connolly, Ryan Lincoln … Cobbi, Ciaran McCabe … Sean Murphy, Lydia McGuinness … Christina, Corey McKinley … Micka Dempsey, Laura Murray … Mrs. Wilson, Aaron Blake O’Connell … Wilson, Toni O’Rourke … Sarah, Cathal Pendred … Security Officer, Robbie Walsh … House Gangster.

Duration 1hr 32mins.  Cert. 18.

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Darndale story

The Irish crime drama Cardboard Gangsters plots the story of a Dublin community, Darndale, and the infiltration of drugs into its streets and homes.  The culture is at epidemic proportions across Dublin with a crime base largely destroying the communities they were brought up in and now have drug overlords with patches to deal and exploit. Feuds are common with assainations, kidnappings, overseas gang warfare and a public caught in the crossfire. It’s little wonder Mark O’Connor and John Connors want to tackle this subject and give it a treatment which delves into the minutiae of the drugs trade and the fall out as a reality met daily. Matt O’Connor, into his fourth feature, is a conscientious socially driven Director whose film making promises a format which is well paced, as this is, full of good characterisations, which this has, follows social reality without compromise and tailors a crew and cast to deliver striking stand out films. This is one which sets out with those same intentions. The drawback is it falls into too many cliches and formulaic characterisations filling the story with very strong emotional drivers and brilliant performances yet labours with the one dimensional menu.

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Unparalleled Mother Son performances.

Jay Connolly played superbly by joint writer John Connors  just has too narrow a set of markers to put down. He plays a 26 year old who is unemployed and is a part time DJ at nightclubs were drugs are an entry requirement. He makes little money on this skill but has a sideline dealing in soft recreational drugs plus some cocaine. He and his mates are similarly banjacksd by the country, city they live in which has cardboard cut out capitalism on every billboard franked by the receipts of the lowest corporate tax rates anywhere which shored up a decrepit and corrupt government over decades of sham luxury development and high escalating property prices. It began with Zoe Developments and never stopped until the 2008 crash and they wound the windows down and let out the stink of corruption which enveloped the whole shebang – the money trailer they all were on board. The stench was smelt across Europe to the US and the EU Bank removed Irish sovereignty as penance while debts were written off and money trails led everywhere with few debtors thrown into prison.

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Getting shafted

Nama was born as was austerity.   Jay and his friends live off dole money and it doesn’t last long as most of them are into drugs in a small way to escape the mill grinding them into the ground.  Jay is reported for ‘working’ as a DJ and he merits loosing any income he has through welfare while an investigation ensues. This is a major problem and he lives with his widowed mother Angela, played by a very soulful Fionna Hewitt-Twamley and the two share a pragmatic, but despairing state of limbo.  His mother is watchful of him and knows the local criminal background. The background which took away his father.  Both are still in grief after five or so years and it is not getting any easier.

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Early hopes of escape

When the film opens we see four lifelong friends as young boys of about seven and their lives are semi feral as the wilderness as well as derelict buildings, heaps of builders rubble and eventually the woods around their North Dublin homes.  The shift is swift to the present, as they stroll around the Darndale streets, weighing up the pros and cons of various criminal enterprises they rotate in their minds.  As things take that change of direction for Jay, no income, he is in desperate need of cash and his mother is not managing either which he is quick to spot.  Both are pivotal in this film and one of its strongest parts is their relationship.  They are born with this part of Dublin as an unshift-able genus loci of all of their live’s.  God does not feature as a healer for either but his mother has a mothers belief that – if she is true to herself and carries the sacrifices for which she has no reward – except Jay’s unconditional love – then there is no counter alternative.  Love and God’s, a spirits, unseen presence, imagined everywhere.  Whatever the conditions are there is almost an unwritten law held within that life/death exist in parallel for reasons beyond them all. The version preached by the Catholic Church up to a point when their debased behavior came back to confront them was the version most families relied on but it’s far from the simple form of love and peace Jays mum is clinging onto mentally.

Now Jay reaches a crossroads and their is no turning back. The poster says ‘Take back what’s yours‘ yet we do not know in all truth what that could actually refer to. Drugs most instinctively – obviously alluding to their patch – but also take back the stolen respect and dignity and is another John Connors cause célèbre which it is very hard to tease this out with this narrative, despite the presence of ever component of the drugs trade and its immorality and tragic effects on all who come in touch with it.  Undeniably the intentions to go deeper using the story vehicle are there.

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The Gang of Four

Failure of plot happen with the four. They portray types frequently visited. Jay is the quiet leader and decisive one. He acts after a sharp intake of nitrate polluted air when crucial decisions have to be made.  His reactions always are swift.  There is his sidekick, Dano – Fionn Walton, who is a wanna be Jay but lacks the smarts and has an overinflated idea of his strength and animal logistics.  To that pairing add one other pair with firstly,  coloured native Dubliner, (John Dalesanndro?) who is all Dub and a well rounded good natured citizen with his identity fully formed but with the continual racist deflection others make of his colour ever present.  His side kick is an ordinary kid still dreaming of being a rock star – Edge/Bono/Damien Dempsey (whose songs permeate and add very very strong messages to hang the plot and narrative on) while being a rapper with an attitude in the reincarnation of Snoop dog? as Joyce of the Street reborn on the Northside. Music is their escape too.  It is no less than another songwriter, Paul Alwright.

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These two are more passive and get in over there heads when the plan Jay concocts to take over all the heavy drug dealing in Darndale gathers pace. He intends to run rings round them and take over under the noses of two sets of dealers, one a long in the tooth – Derra Murphy,  so implausible as an active Gangster not to have been wiped out by this stage – who has been doing it for 30 years non stop. Around him are a narcissistic bunch of fellow delusional hoods and pastiche Gangsters like something out of the Sopranos junior prom. The other dealer of importance he has to float off in a boat is a Northern Irish itinerant family with a hierarchy also base on the Sopranos but with an implausible young gobby boy whose resemblance in demeanour is stolen from the kid in ’71. the one who bad mouths the army. It is a bit hard to swallow due to it being delivered as one dimension bites.

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There is no slack or nuance. There is of the first mentioned old timer Gangster, Derra a real wife, Gangsters Moll, Kim played with brass by Keirston Waring of Eastenders and her hang out Ricky from The Office. who is put into situations which are far too dangerous in reality to be convincing. Everyone is an informer and it is a very degrading and bedraggled performance by a woman who ticks all the boxes and convinces you of her emotional harm and physical fragility before the inevitable happens.  The main dealer gets on his horse.  His son Sean is a go-between on the streets and his life is also to be entangled in this world as his figurehead, mentor father is the wild old man Jimmy Smallhotne as Derra Murphy.  Not a nice guy when riled.

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Screw ups, RedemptionRevelations

Jay has hit the rails in this whole new environment of his own making.  At 26 he has not modified his survival instinct to accept it could all end very badly.  Why is this seen as possible in a guy as smart as him?  He has an alternate life in a relationship with Sarah played by Toni O’Rourke, again an outstanding believable piece of acting and he has a way towards a happier life but he does see it getting out of shape in screwing it up.

What I get is a story of redemption appearing.  In the void made by his father he sees it as a probable route out of the unbearable grief of losing his mentor – not great on that score – and feels obliged to do it for the sake of his mothers security. Into this path of a future with a cause and a faith in it being the right thing he sets up scenarios which is the embodiment of the phrase ‘Take back what’s ours.’ This is a task he takes on like the universal soldier without fear or idea of wrongness. He is oblivious and a totally different person. The violence of the film is ramped up and the heat is furious as the story moves towards its sorry end.

The twists, plots, betrayals, double crosses are thrown out in every direction and within it is framed Jays realisation of his fate and his journey. It is very audacious way to take on a story which is part of the everyday practically and make it new with edge and believability but it falls down by following – and this is a first go at feature length writing as a collaboration of O’Connors and Connor so it bodes well for more nuances and less predictable tropes. I was reading about the Cartel Wives, a true story written by two sisters married to twins and Mexicos biggest drug dealers into Chicago and much of America and they played the stereo types but we’re in a different league. There is also the Matthew McConagaghy Dallas Buyers Club which wrote an entirely weird and contemporary wildfire take on drug dealing Texas style which I thought superb and a whole Club of emotions entangled in a modern world.

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Conclusion ###3

I have to bite into my critical viewpoint and not become over run with sentiment.  Dublin, Ireland deserves a film such as this, just to lift the lid off ordinary life in the shameful presence of the drugs trade exploiting the wracked minds and medically uncared for addicts and the outpouring of huge societal problems accumulating year after year.  The film goes into a story partly based on criminality which even since it was made – 2016 – is on an unrelenting course of spiraling brutality.  From previous eras these stories also come into day to day conversation and filmmakers such as Mark O’Connor see the task of their own driving force the need to put onto screens in startling effective realistic storylines something of the view outside the cinema or home.  King of the Travelers became an opus in real story progressed film narrative.  This too is neither sentimental, glorified, sexed up, hyperrealised but a searching account without answers as none come forward.  Ever.  The account is full of bloody and messy translations of human fortune delivering a grueling watchable unfolding perspective of a life in Darndale.  It takes you into places beyond the limits its trope ridden script – it follows a formula without jettisoning the usual gangster movie traits for something extraordinary – which it is in proximity of without delivering.  The scenes are beautifully framed in tracking without settling but continuing apace when things get serious, by the wide frame and flowing cinematography of Michael Lavelle and Directorship of Mark O’Connor’s strength of compressive – no out but violent immmersion.  While it is flawed in several ways it is an opening of the view never properly taken before as Cinema material.  John Connors could play a priest or an American suited and booted crooked Businessman or a junkie Coach of a Football team or even I thought. – well your imagination will be challenged as this is pulled out of the fire by performances heart felt and convincing in the deepest way effecting.
On at Queens Film Theatre from 23 June 2017 and that screening will have an introduction by John Connor, possibly Q/A?  and will continue through to and including the 29 June 2017and on general release.

From a writer whose songs have crossed the world and is an inspiration at around 31 for lots of young Irish musicians I found myself looking at his website and a letter from Damo.

Heres a very insightful and thought provoking excerpt. Hope he doesn’t object to the cut and paste!  See it all at http://damiendempsey.com/a-letter-from-damo – he puts down what inspires him.

Sam was sent to Ireland as part of a food removal regiment. These regiments were stationed all over Ireland, guarding the rivers of food that was leaving Ireland all through this terrible period. Cattle, sheep, pigs, grain, wheat, barley, peas beans, rabbits and an array of different types of food was being shipped to England, as millions of Irish starved. Ireland at this time and for many centuries was known as the garden of England. That’s why it angers me that this period in Ireland from 1845 to 1850 is referred to by everyone and in Irish history books as ‘the famine’. The word famine means extreme scarcity of food, yet in one year alone, 1847,over 4000 ships brimming with Irish food left Ireland for English ports. The same year, 400,000 Irish people died of starvation. So I’d implore people to stop using that phrase. Lets call it what it really was. Mary McAleese has referred to this period as the great starvation; I think that’s a more accurate name. Half the British Empires army was in Ireland at this time guarding the foods passage to the coast, (many Irishmen numbered among them), and the soldiers all had to be fed, this gives you an idea of the amount of food that was in the land during this time. This is what Sam Jenkins was doing in Ireland. Like many soldiers from a poor background, he felt more affinity with the poor Irish than he did with the ruling class English (who tried to brainwash the soldiers into thinking that the Irish were white apes, sub human), and he suffered because of this.

If you have the chance my friends please vote for Jeremy Corbyn in the upcoming U.K. elections, a modern day Sam (if your reading this letter I’m sure you will). This leads me onto the song Simple Faith. I feel we shouldn’t have blind faith in institutions like the state and the church and believe all were taught in school. As you can see above the version of Irish history I was taught in school about ‘the famine’ and Oliver Cromwell and Drogheda’s 2000 dead (Cromwell’s new model army killed hundreds of thousands of Irish in the Cromwellian wars) were cover-ups and lies. And not one mention in an Irish history book of the 50,000 Irish slaves sent to the West Indies or their descendants still there today in Barbados, the Red Legs.

I had to find out these truths for myself through research. The same way I found 5HTP after Brian Cowen banned it in Ireland; I try to be questioning and open. I believe we’re on the cusp of a new dawn, new age of enlightenment. People are talking about who really runs the world and owns the banks and the media. Their talking about the poison put into food and the toxins put into the water. Their growing their own food and eating whole foods, getting into spirituality and nature and mindfulness, looking back in time for learning and wisdom. They’re recycling, glass, plastic, paper, food. The things we can learn now on the internet when we sift through the garbage and do a little research is incredible. A friend of mine Dee from my street told me the Shaman are waking up around the world. A South American Shaman told her this. I’m feeling it. I’m talking about this in the song Simple Faith. People are far more open to herbal remedies now and medicating themselves with them. Their looking at what their ancestors used to heal themselves instead of having blind faith in doctors, who often have the answers but not always.

People are far more open to using cannabis for healing than they used to be. Lots of older people I know are using it for pain relief and other sorts of conditions and ailments. This is another thing that rankles me about having simple faith in the government. Some guy in a suit tells us we can’t use the healing properties of a plant that grows out of the ground, that humans have used for thousands of years to heal all sorts of ailments. The government refuses to legalise it even with the THC taken out it. The THC gets you high but the vast majority of people across the land in pain or with a condition that cannabis can help with don’t want the THC, they want the CBD part of the plant. But the powers that be cruelly say no. Yet the same powers refuse point blank to stop dumping a toxic waste. They purchase this waste with taxpayer’s money from fertilising plants, which would have to pay to dump this fluoride if our government didn’t purchase it from them for our water supply. Saying that it’s good for our teeth (countries across the world have banned it out of their water). Maybe this was true in he 1950s when many people didn’t have toothbrushes or toothpaste or mouth wash. This same toxic waste lowers IQ in children, makes people more docile, and makes people sick. And a lot of people make a lot of money from sick people.How sick is that. That’s kind of the jist of ‘Simple Faith’ anyway.

I’ve an iPhone now my friends, I’ve nearly learned how to turn it on and off, so I hope to be posting more on Facebook, if I ever learn how to take a picture on it. And I just got handed a copy of my first ever vinyl album, mother of god, its so beautiful, tears in my eyes here X.

So from Damo to Samo to good old Jeremy!

 

Churchill : A Film Review


Churchill

Director: Jonathan Teplitzky.  Cast: Brian Cox, Miranda Richardson, John Slattery, James Purefoy, Ella Purnell, Richard Durden, Julian Wadham.  Screenwriter: Alex von Tunzelmann.  Producers: Nick Taussig, Paul Van Carter.  Production company: Salon Pictures.  Cinematographer: David Higgs. Production designer: Chris Roope.  Costume designer: Bart Cariss.  Editor: Chris Gill.  Music: Lorne Balfe.  Casting Director: Daniel Hubbard.  Cert. PG, Duration 1 hr 38 minutes


Too important a History to portray wrongly

There are to some unbearable conceits within this film as it twists historical record and contorts speeches and rhetoric making at times a banality of its very gripping subject.  I on reflection, some time after seeing it, do recognise the scoping of the film to place Churchills ‘black dog’ – he practically made this term ubiquitous, handling the tormenting angst of war and its repellant outcome at the heart of a hostorical period.  The twist is that while this film shows it differently, Churchill had come round to the possibilities and the necessities driving the D-Day landings in France.  Here he is depicted at being totally at odds with Eisenhower right up to the daybreak on the final push and landing.

How are errors excused?

The choreography is not too clever as it is diminishing what are very able and extremely well carried performances, not least that of Brian Cox who to my mind comes home in the part.  His inflections, minor facial expressions, language spoken and in his bodily bulk; he put on nearly a stone in weight to get the swaying walk and posture spot on and it convinces immeasurably as a great performance despite the mistakes of script and history.


Light Aircraft etc.

The budget was restricted it seems.  No planes, tanks or ships are shown as this is in some ways a psychological drama in its determination to portray Churchill as a mentally crippled individual full of compassion with a deep dark hole of self doubt and awareness over the magnitude of the role he has.  Firstly as Prime Minister during the war having successfully dealt with the Blitz three years earlier it is now 1944 and D-Day for which years of preparation, a large part of which was the training in places throughout Northern Ireland, Kilkeel , Co. Down being a particularly good example where 8,000 young American airmen went on training missions, trained in dark barns as gunners shooting at projections in the sand and setting up fun attacks on the beach, in the shadow of the Mournes.  The planning was Eisenhower’s own as a Commander of the Allied forces.  Churchill was a politician and strategist.  He tried to hold the moral high ground but was at times considering chemical weapons as a means to defeat the enemy such was his commitment to the UK.


Chaptered we move

The film takes its time scale as chapters of the countdown to D-Day, Operation Overlord, D-Day minus 3 and takes us into the minutiae of the dealings between the leading militarists. Navy, Airforce, Artillery and Eisenhower heading the campaign and responsible for the ultimate decision of when to land.  Some details are overlooked, like the French airman, General Maurice Challe, on the day before D-Day handing over the Luftwaffe order of battle to Britain giving a significant indicator of where the firepower was to be directed while the Allies were planning a precise attack.  They were disposed, in other words elsewhere and surprise was a key element.  Encounters between Dwight Eisenhower (John Slattery) are somewhat theatrically driven and the screen widens to show majestic columns or stately rooms, as locations heightening modern versus old.


The Modern World

Modern Eisenhower uses language which sours in historical terms.  He would never I suggest have been so dismissive with slighted barbs of Winstons role and place at the battlefield table.  His input was invaluable.  This is one of the reasons I think the script has taken a hammering in critics eyes.  Eisenhower would in fact go on to forge an open America having seen Democracy in action in the U.K. and two decades later would be working (when he wasn’t spending half the year on the golf course) with Macmillan in forming alliances to gain access to the Suez Canal.  MI6 and Middle Eastern Committee’s arrived to advance a new world order and to enter the Cold War.  So the script was light on the forging of these continents.  It was the real beginning of Western power gripping modernity and Eisenhower knew it and gained from Churchills wider world view.

The Australian director Jonathan Teplitzk has set up scenes which stand apart, are mini bites of action and dialogue; a quasi chamber piece, from the very beginning where we see the ‘black dog’ staring into the black dark ocean and having visions, to the internal arrangement making of the Palace of Westminster War Rooms and the secretarial recruitment of his dogs body secretary, Miss (Helen) Garret (Ella Purnell) who is hounded for mistakes and if not for the occasional interruption of Clemmie (Miranda Richardson) she would fold under the abuse directed at her.  This itself is overly dramatic but Brian Cox still hold you gripped to the intentions and inner conflicts of compassion, a desperation for things not to fail despite under whose authorship they may proceed.  There are good performances from Julian Wadham as Montgomery and also Richard Durden as the Boer War veteran aide to Churchill, Jan Smuts.  Danny Webb convinces also as Brook.


Spoils of acting

There are several key scenes in which the staging is also placed under a rigid formula of order.  Entrance, disembark, manouevre, engage.  One is set in D-Day minus 3 where Churchill and later King Edward are summoned to the lawns of the American HQ to see the plans laid out on trestle tables.  Montgomery, Brooke’s, Eisenhower, all standing behind their plans.  The sunny day of June is kind and peaceful.  When postulating is over Churchill rails against the plan as I’ll conceived as the landing areas are narrow and forces thin.  The King George VI (James Purefoy) witnesses this and says little.  Another scene which I found to be a fulcrum in the film was one between Churchill and the King.  With recall inevitable of the Kings speech here is a piece of pure acting brilliance as Purefoy arrives unannounced to speak directly with Winston.  What follows is a perfectly scripted speech which is paced and as nuanced as ever you can imagine it precisely to be.  Within it little gold nuggets have you placing this in the historical record.  He refers to his own security mindful of getting too involved as Winston has just earlier recruited him into a dangerous situation.  The King speaks on leaving behind, ‘Lily-Beth who is only 18 years old‘ and we envision the same Lily-Beth all these years later for the umpteenth time – today May – putting another PM in charge.  We envision the young Elizabeth in this grown up world of mutilation and ongoing hardship in the U.K.where sacrifices are incalculable.  It is worth watching the film to see this alone.  Winston with the character now inhabited by Brian Cox is an eloquent, dignified and considerate, conscious foil to this measured in every word, Kings speech.


Preparations

The preparedness for war had been long and hard fought.  As a lone voice with part recognition from Harold Macmillan Churchill saw Parliment deluded by Chamberlain into believing Germany to be, contrary to fact, in poor economic condition.  In 1940 Churchill spoke ‘We “muddled through” the last war, and in doing so, we needlessly sacrificed hundreds of thousands of young lives ……  .  We cannot, we dare not, “muddle through” again’.  Once Chamberlain had been ousted for the falsity of the mounting ‘Phoney War’ and Churchill appointed Prime Minister he summoned Macmillan to create the supply chain and amongst the wares exchanged unbeknown to either ‘heavy water’ arrived from France and the atomic bomb was to emerge.  This is the preset war tableau which Dwight Eisenhower must have been totally aware of and along with that a companion at war was made of Churchill.  No enemy, despite strategic differences in their ages an advances in armaments.   So the film drops the ball conceitedly for cheap dialogue and stand-off.  By the time the change at the head of Government had taken place Hitler had deployed ablitzkrieg on the Low Countries and conquering France.  One month after France signed an armistice legions of British troops were to escape via. Dunkirk.  Soon to be screened will be a depiction of this World War 2 miraculous escape.  When it came round to Operation Overlord when Eisenhower had been summoned back to direct that campaign from America,  Macmillan was ill and out of most War work having brought together a good relationship, in previous years, with Dwight and his right hand man, Bob Murphy who admired him so much he was to write he would ‘become a great representative of your country …. – would make this world a far more attractive habitation’.  That indeed he would progress onto and attempt Post war – giving Churchill the job of building a million homes or more.


D-Day

The deployment of troops is seen from the War room and Miss Garret is stoically still engaged in communications as is Winston.  Overlord has happened and now the numbers of casualties and the extent of success of the invasion would be part of the record.


It’s a Smartphone – you can book your cinema tickets directly through to Queens Film Theatre and be assured of your seat.   They have a good selection of Whiskeys.  You like Black Bush with ice don’t you?

Conclusion ###3

Films in my mind have to have or have the possisibilty of having 5 dimensions.  Firstly the 3 dimensions we sit in, at home or in the cinema or drive-in, as witness to the 4th which is the screen.  Within the vision we see our world or another placed before us and the 5th dimension is when that screen alights with a realm never encountered or one around us never put before us in this theatrical guise.  We are transfixed and know when we have seen something of that far reaching view.  This film has almost the wit and guile the wordsmith Winston Churchill gave us but it falls short hugely as it has a weakness at the third dimension when at times we cannot advance with it from the comfort of our seats and begin to contemplate alternative narratives. Unspoken truths and witnessing conflicts in the false notes we see and hear.  It’s a bit like Gin, an acquired taste.

John Graham

15 June 2017

Belfast

On at Queens Film Theatre from Friday 16 June through to and including Thursday 29 June 2017.

The Normandy landings (codenamed Operation Neptune) were the landing operations on Tuesday, 6 June 1944 (termed D-Day) of the Allied invasion of Normandy in Operation Overlord during World War II. … Planning for the operation began in 1943.

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Patton in the Mournes.

The outspoken and larger than life General reached the high point of his career during World War Two, when he led the US 7th Army in its invasion of Sicily and swept across Northern France at the head of the 3rd Army in the summer of 1944. Late that same year, Patton’s forces played a key role in defeating the German counterattack in the Battle of the Bulge, later liberating the country from the Nazi regime. Patton died in Germany in December 1945 of injuries sustained in an automobile accident.
Patton in the Mournes with the 10th Infantry
Patton visited troops to inspect their training in Armagh and Down in March 1944, flying into Greencastle. He was known for his ‘colourful’ speeches, many of which he gave when visiting the troops in Northern Ireland. Women were not allowed in the vicinity when he was giving these talks, as his language was deemed unsuitable!
 

Gifted : A Film Review

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Gifted

Director, Matt Webb. Cast: Chris Evans, Mckenna Grace, Lindsay Duncan, Octavia Spencer, Jenny Slate, Michael Kendall Kaplan, John M. Jackson, Glenn Plummer, John Finn, Elizabeth Marvel, Screenwriter: Tom Flynn, Producers: Karen Lunder, Andy Cohen, Executive producers: Glen Basner, Ben Browning, Molly Allen. Production companies: FilmNation Entertainment, Grade A Entertainment, Distributor: Fox Searchlight, Director of photography: Stuart Dryburgh, Production designer: Laura Fox, Costume designer: Abby O’Sullivan, Music: Rob Simonsen, Editor: Bill Pankow Cert. PG. Duration 1hr 41minutes. America.  Genre, Comedy – Drama.

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The intro Basics

This is a throughly engaging and rewarding film to watch with a very smart kid at its centre. Whether or not 10 year old Mckenna Grace is as smart as she plays is not clear as she delivers a performance brimming with belief and funny childish guile. She is not to be outdone in the acting smarts either by the very good performances from 35 year old Chris Evans playing her father Frank, Lindsey Duncan playing her Grandmother, Jenny Slate playing her school teacher Bonnie or Octavia Spencer playing next door neighbour Roberta. It is about how best it is to bring up a Gifted kid who comes from a line of Gifted kids from previous generations. She has no siblings. Frank has raised her from her being 6 months old, she is now 7 years old. McKenna Grace is a ten year old and has plenty of work already amassed and looks thoroughly at home acting.

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The central core of the film is a custody battle which itself disrupts and places huge conflicts into the mix which is of no benefit to her whatsoever. It is full of engaging funny moments as well as obstacles and pitfalls but will keep you held tight to the story as it unfolds. Such is the potential of kids to entrall and create new visions everyday.  Having many hands deciding the future for Mary is a tug of war.

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Family Genius

Genius is rare and humans equipped with advanced brainpower are as this film suggests rarer than radium. From a Director whose got has shone through with (500) Days of Summer, he is very good at telling human interest family stories.  The modern day of Florida and the sunshine state has a mix of Americas class advantages and disadvantages. Frank is an Uncle to Mary who he has brought from an orphan’s indecisive future from a family tragedy in Massachusetts and Boston to a timber chalet in a seaside village with only the basics going for it and as he likes it. The brother of Diane, Mary’s mother has passed away around seven years ago and Frank has given up an assistant Professorship at Boston University. (Philosophy) in order to recalibrate his life and become a parent away from the heat of academic elite education.

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Mary’s father is an unknown. Diane’s wealthy mother Evelyn is played by Lindsey Duncan, taking on the role, in a high maintenance coutured appearance, hiding her insecurities, one of which is never having connected with her own children. She too was another vehicle of Mathematical brilliance and also been a driver of her daughter towards the high isolated gifted brilliant existence around a world class facility of University research.  She is into a second marriage also.
Her sacrifice was to have given her skills over to child rearing and now sees the world differently as one which has short changed her as she feels in respect of her own talents. Diane never intended to have children it might be said but her nature was such she had an intensity she has not been capable of holding together while missing out of parts of normal children’s lives. These are the basic elements of this tremendously engaging story. It has twists and turns in plenty of permutations and its calculus is finely balanced and beautifully shot.

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Home

The conflict which drives the film is the right and wrongs of child rearing. Frank is not in a relationship and has no children of his own and works as a self employed boat repairer at marinas in and around the coast. It is a hand to mouth existence but it seems to pay the bills and Mary attends a state school with a bunch of kids which she says are stupid, but she warms to the talents of one or two and steers her way through school being bored as she is so far ahead of the rest and she is contented with the diversity the company brings. On a school bound bus however she gets collected and then has a barney with another kid which has her before the stern school principal (Elizabeth Marvel), Frank is offered choices and he is not sure if he is right in those he makes. Evelyn turns up from Boston standing on the porch like a Californian Lizard in big shades. On a mission she has taken it upon herself to become not only involved with Mary’s life which up to now hasn’t been one of much involvement, but as a replacement mother.

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Throughout the film Mary sees the adults own lives for what they are. Like her they need love and resasurance. Being careful not to upset people she knows is an art in the family and she picks up on mood very easily. Her interests are in the strategies of the patterns the world presents and she continually searches through mathematics and their equations the patterns as a means of access to the bigger picture. Mary asks about the big questions on faith, etc. and their next door neighbour is a coloured woman called Roberta who is a great friend to Mary. They share Saturday nights and Sunday mornings as Roberta babysits giving Frank some time to himself which usually involves continuing to work on boats. Frank has a friend in Mary’s teacher played by as she values Mary and looks out for her at school. By the time Evelyn has arrived on the scene and put down a marker the education and upbringing of Mary becomes a whole greater level of complexity setting up for a troublesome middle story.

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It not just about Mary

A favourite part which will get him a feature in the Animal Oscars is the one eyed ginger cat. One life is nearly lost as a side story itself a purposeful act, while it is the only other living creature sharing Mary and Franks home. Outdoors is what was denied Diane in her upbringing as were lots of other things revealed during a prolonged custody battle Evelyn feels is necessary to embark on, which is central to the story. These elements are not found to be plot spoilers as much is levelled in the trailing of the film over custody and it is the nature of the parenting which becomes the key as well as the superb watch it is to witness Mary’s every turn and nuance, which she does with astonishingly quick belief and accuracy as to pin the fact the script is entirely natural and believable.

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Mary is played by a confident animated, subdued, kid with vitality and energy. The appearance of playing a genius is not hard. The Director has paced the sequences for Mary allowing each portion to run without any sign of interruption or coaching by a swift editing process seeing things in the blink of an eye as they unfold. Mathematical equations chalked up speedily, shouting matches – ever kid has its moments so no spoiler there then – and sequences in the journeys in Franks pick-up are very cleverly run without any pretension or jangly loss of pace – ever. The whole lends itself to lots of comedy and laughs from the audience as the lines – especially Mary’s – gets to deliver bring warmth, recognition and wisdom in large doses.

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Performances par excellence

There are parts played by folk in minor roles which are crucially delivered with the same level of excellence as the major parts. The courtroom being a particular place of the solidity of performances to show. Some scenes are very testing and revealing while the whole system of family courts felt ludicrously public, formal and of legally heightened absurdity, its access being for a few rich who could afford the luxury of seeking justice and fair judgement. Evelyn comes into her own here in Court and placing herself as an adversary against her own son is a bit of a leap though absurdity being what it is no doubt it occurs frequently in families. Some scenes are equally important and learning is not only within the classroom as Frank recognises.

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Mary has ha a very good upbringing so far and it is this balance of having a mathematical savant to be a guardian too but recognise the things children need around them, one children, the outdoors, risk, breadth of outlook, patience, giving and receiving love and knowledge of other people views and making choices based on goodness knowing everyone is not the same and she has certain advantages which are to be nurtured carefully and no wasted of taken for granted.

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Conclusion ####4

It takes Massachusetts to state the case for Americas dream of success and failure through its institutions like Cordell and MIT Universities. Protégées and Savants, Technically brilliant minds and adulterated brilliance of a kind requiring stimuli to land the answers to mankind’s biggest questions are the millstones of grinding young people into adults of stature. This film embarks on as lesson of humility at the heart of a child’s best ingests with it contracted by failings, within her immediate family of having lost the ability to control their inherent genius. Mary is a brilliant kid of a ten years old with an settled future but is brought into a place where her very home life is contested territory as well as her burgeoning and advancing skills and aptitude for learning appear as she grows towards the important teenage years when learning takes on a routine and formulaic structure.

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Seeing this develop in a Florida seaside retreat come homeplace, is her Uncle Frank whose task it has become to be Mary’s guardian. He has abandoned his own professorial aspirations, it runs in the family and usual ends up not turning out to be all it’s cracked up to be, and is content patching up boats instead of grinding away at the academic millstone which is so strictly cadenced as brilliance itself works on the handed down work of genius, he is quite estranged from this contradiction brilliance has thrown towards him. Mary is just a kid but not like many others and it is not wise to let her become disturbed by the notion she is different as around her other kids play and develop alongside each other at more or less the same pace. Mary also doesn’t watch TV and doesn’t pester Frank to take her to see Smurfs. I doubt she would like The Mummy also.

Nobody likes a smart ass says a principle character during the well balanced beautifully paced and shiningly sunshiny script delivered like an Aristolian play with much contained within its outward ordinariness. I enjoyed this film simply because it was handled so intelligently delivering normal absurdity in contrast to worldly wisdom. The counterpoints were subtle and well paced and not overly drawn out. Performances were key and as I noted above all the ensemble are to be credited with knowing which way to go with their part. No overindulgence, no out of place characterisation but all was skilfully handled. It didn’t break new ground but held its own in telling a story which will interest many and provide certain insights. A very enjoyable, rewarding watch.

 

John Graham

14 June 2017

Belfast

 

Gifted (2017) Movie Release date in UK: 16 th June 2017

 

 

 

My life as a Courgette : A Film Review 

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My life as a Courgette  Duration 1hr 6mins  Rating PG

Directed by Claude Barras, Produced by Armelle Glorennec, Éric Jacquot, Marc Bonny.  Screenplay by Céline Sciamma, Claude Barras, Germano Zullo, Morgan Navarro.  Book. Based on Autobiographie d’une Courgette by Gilles Paris, Music by Sophie Hunger, Edited by Valentin Rotelli, Distributed by Gebeka Films, Duration. 66 minutes. Country. Switzerland, France, Language French with English sub-titles.

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Scenario

Adapted from the Gilles Paris YA novel by France’s youth friendly screenwriter, Celine Sciamma (“Tomboy,” “Girlhood”), Swiss director Claude Barras’ “My Life as a Courgette” shows how life for a young child removed from a family setting, is challenged while he forges his identity as he moves into in a Children’s Carehome home.  His name is a means of ensuring singularity and the writer skillfully deploys this stop animation film as a quasi scoping out of systems of care while making it a benign film suitable and not too troublingbone would hope and so far it’s is borne out, for young children themselves.  There is a dry direct biological sense of humor which goes beyond the nasty smelly forty traits and is partly uses sexual references.  Whether kids not in a French language course get the subtitles they may find it difficult catching up the adults who are skilled at joining visuals and sub-titles up instantly as a by product of seeing good well written art house movies which this is and which delivers its humour with colourful rapid firepower.

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Stop motion identity

Life as an animated Swiss boy is in the hands of many people.  Identity is for others to manipulate and guide.  Courgette has to be flexible and obey the stop motion process to do what is willed.  Tedious as that may seem Courgette manages to escape his mentors and creators to an imagined inner sanctum which hadn’t started too well.  Firstly as a lone child without domestic comforts in an attic we see the colours of Courgette’s world in the sketches and crafts scattered around his loft bedroom. From it is the view of a large town which he explores with his kite.  A Spider-Man character drawn on one side which he submits to his conscious as his lost father.  We hear from below a loud television in the act of transmitting daily dramatic arguments in the form of a dialogue his mother Madame Courgette is transfixed by with the contributing factor of vast quantity of tiniest which are discarded and strewn all over the floor which Courgette observes with a resigned detachment.

Madame Courgette is partially responsible for her own downfall from this point onwards as the scene is set for Courgette moving out and on to a more pleasant stop motion activity involving children of his own age, around 11, and in a pleasing outskirts of town even countrified environment of a detached children’s home.  Before he gets there we meet the paper filling Monsieur Raymond a Gendarme whose function is to oversee the placement into care of this little lost boy.  Monsieur Gendarme becomes attached to the story as an evuncular near retirement policemen which the stop motion life has assigned a slightly disjointed French gendarme type nose, long and typically Gallic-ly thin whose own circumstances relate in a way to Courgettes whose name by the way is of his own invention.  His identity is what is the mast and sailing device needed to navigate the stop motion world and life.  His guide can be his imagination which we see his personality hidden yet emerging as highly coloured under the baggage of this domestic altering life. He comes over as constricted optimistic creative kind with doubts filling many of the junctions he is asked to traverse.  No male guide in the form of a moral compass or initiator open to adventure, no maternal loving parenting or emotional regulator nor any sign of a mind being educated exceptbthrough his own ingenuity.

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Parental Breakdown

Cleverly the circumstances of domestic life are thrown up in the air (literally in a way) and this begins a new adventure which Monsieur Gendarme take him into past the high rise estates, the motorway connections onto open country along the rolling quieter rural idyll which even enables Monsieur Gendarme to relax into his self adopted role. Sturdy an assured in purpose they arrive at a large attractive detached house to be greeted by two staff members and at various windows inquisitive children.  The matronly Madame Principle (have to continue with this means of naming them as it is not in the directors mind to ‘label’ them Raymond excepted, and I presume it must derive from his upbringing as say being know to his friends as Bean or such like.  Then he became a runner for a film crew etc.  for which the this film listing has about 15!) has a large topped hair tower and round Corbusier glasses which apply her short sightedness over onto a Courgette in a Breton black matronly way.  She is formidablé though confident enough in her complexity not to be overbearing and with Rose, a name escapes beneath the allusion, is a young teacher and nurse, cleaner, cook, gardener, general ‘factotum’ whose task it is to do as Nadame asks and without fuss or even being visible.  This is a stop motion circumstance the flexibility of Courgette is well able to handle as his assertive side comes out particularly concerning his name.  Odd as it is it is not to be found elsewhere except the variations across languages give it another more exotic calling as nom de plume, Plum, people have been named even Pip.

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Play time

The new surroundings are populated by a rag-tag of children placed there through no fault of their own from backgrounds of immigration, child abuse, orphaned, drug addition with a company of teachers, attendants whose care is essential to their settlement.  The narrative is one not normally travelled and it is what gives the film a pvery strong story.  Courgette is in a strange environment and shares his dormitory with the other boys and the assertive Simon who is the self appointed leader guide and spokesman being a well developed foil and thought provoking element.  Simon is troubled himself and reacts by being defensive and assertive.  Form early on we see the different personalities around the meal times and playtimes.  The young male teacher with the job of educating them is a lively active kind with an amourous relationship with Rose and together they arrange a trip to the Alps and a ski- resort.  Being a fashionable retreat the kids onl have initially sleighs and the odd set of skis to play with and there is a contrast of class in some interactions.

Another clever detail.  Every Ski-resort has its Apres ski and here Courgette and his pals have a good time in the multi-coloured disco ball atmosphere of the cabin.  Earlier this week while listening to the Radio Ulster duo of – cruel as it happens but I’ll label them! – Smashy and Nicey – Stuart and Rigsy revel in the new radio studio all bells and whistles with 21st century controls.  So when a track starts in the semi gloom the lights dim further and Rigsy can barely control his excitement as a green blob spiralls and decorates all the walls of the space age domain.  Child like frenzy is happening man especially we’re music and disco lights are concerned.  It is one of many delightful carefully segued scenes and the story takes on more characters including Courgettes close love interest, the shy Camille.  Camille is a helper and observes others traits and vulnerabilities while not attending to her own.  Her Aunt arrives on the scene commando style Camille seeks assistance in trying to avoid being taken away from this place of comfort and refugee.

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All the kids have found a place of safety and enjoy the way things open up to them.  Things aalways change and the writer makes concessions to this by placing favourable developments to counter the other less savoury elements, not that they are overplayed in either event.  The world has set them numerous problems and this story is a neat compact telling of the formative years while dealing the smarts on rearing children without harming their future.  They have at the same time to loose the baggage other children do not have which not to bear.  It is a very intelligent and sympathetic film touching in its confronting difficult issues, seldom tacked in film and animated to a level which is infectiously enjoyable.  You may know what a Courgette looks like. Look out for the other oddity veggies, L’Artichoke, L’Aubergine.   The attention to detail is fun and plentiful.

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Conclusion ####4

Running for only 66mins this is nevertheless a fully formed piece not lacking in pace, message, interesting characters, sympathetic and emotional moments dealt with a carefully script.  There is a mad American overdubbed edition which while it helps children keep up with the jokes and continual wordplay, at times involving sexual references in Gallic flavored morsels.  It is essentially a universal story but it Gods up extremely well in the Foreign/Native language version subtitled in the U.K.  Be careful which one you arrange to see as both versions are being screened by Quens Film Theatre and on General release there will also be choices.  Children are very adaptable to cartoon driven and adopt favourites depending on their own personality.  The Ghilbi Animations are pure gold and carry lots of layers often found compelling to adputs in their literacy also.  This is not a vexing or very deep message but is full of good outcomes and peppered with lots of vibrant beautifully visual content which will see the hour and a bit pass without you know it and oddly thinking that it was longervsuch is its immersive connective joy.

John Graham

2 June 2017

Belfast

on at Queens Film Theatre Belfast from 2 June 2017 through to and including 8 June 2017 and on general release.

Jawbone : A Film Review


Jawbone

Produced by Michael Elliott, Johnny Harris. Written by Johnny Harris.  Cast. Johnny Harris as Jimmy McCabe, Ray Winstone as William Carney, Ian McShane as Joe Padgett, Michael Smiley as Eddie, Luke J.I. Smith as Damian, Anna Wilson-Hall as Mary. Director : Thomas Q. Napper. Duration: 1 hr 31 mins. Cert. 15. 

Seconds out

There is no place to go for anyone whose hope has gone.  The future is a place of roadkill.  It will swallow you up.  The mind sees things it cannot control and the future is best left alone so horrendous it seems looking forward.  So what is there to do except go backwards.  Unwind the past beyond the turmoil which formed the bridge between then and now.   Jimmy McCabe (Johnny Harris) has hope but fear also and his upbringing has been in a closed world of boxing.  A neutral corner in his life. A year ago his mother died and he is about to lose through this own disconnection with the world the tower block flat he grew up in.  His family as young boxer were his trainer Eddie (Michael Smiley), promoter Joe (Ian McShane), and club owner Bill (Ray Winstone). He is in control only when he is in the ring as a fighter. As a boxer he became at 22 an ABA (Amateur Boxing Association) champion which is the biggest step on the ladder to becoming a professional. 


Boxing bored of control

In boxing you are either a boxer or a fighter.  Unless you are gifted and are both you will not succeed unless you are so beyond being a fighter you become a warrior or like Evander Holyfield lightening quick and as balanced as a dancer at the height of their powers.  Some boxers are so gifted as to become a capable of outwitting your opponent in every move as it’s seen in advance and a matter of choosing the right time to unleash their demons.  Seldom do boxers come through on the scale needed to sustain a living.  Joe Calzaghe was a Welsh boxer who trained in himself with his father to be hard as nails and in a club without any distractions or manipulative promoters after a quick return and fall guys.  Another was Ricky Hatton who grew a Manchester and bigger following to become a super light middleweight and his craft was speed and accuracy.  A dynamite boxer fearless, fit and fast.  Joe Calzaghe was able to handle his rise through the ranks and another Carl Froch came up with him to be British World Champion boxers. 


Jimmy McCabe is a fictional boxer and this a cut at the boxing life not seen that often in film, never mind a British film.  The boxing clubs that thrive in the working class areas and inner cities from Manilla to Manchester.  This is not at the turbulent Rocky out on your feet kamikaze ruthless blood letting film which has arches of blood swooshing around and miracles off the canvas. Yet it has as a climax a fight choreographed by Barry and Shane McGuigan.  Those two also ‘advise’ ‘train’ the boxers/actors in their ring craft in the club.  Just as well it’s not true, they couldn’t train white mice. So much than you’ll not get a sequence here, how many Rocky’s?  Taking boxing by the throats is what the promoter does.  

Joe (Ian McShane), is a character smart from his Deadwood part, here as the chief fixer and fight maker.  He appears only a few times and is played as a cross between Ronnie O’Sullivan and Barry Hearn.  One a joker maverick skilled player and the other super spiv Svengali deal maker. It doesn’t amount to much here though and it’s only a passing element. He is close to fight arrangements and sets up something for Jimmy.  It is off the usual boxing radar and highly dangerous. His skill is publicity and hype as marketing need appeal to the lower end of the market, promising this is only the beginning.  It’s usually the beginning of the end as a fighters roster needs to contain a win to loss ratio of 10 to zero.  Amateur ranks are full of talent but their ring craft is for three rounds although in tournaments they find themselves boxing every three days sometimes.


The setting

The film has a straight forward arc and is from the very beginning establishing the despair and near collapse in Jimmy’s life where things pile up and haunt him.  He is fighting addiction and is near loosing his bearings which went after his mum died.  He now is in a fixed loop with nowhere to turn and the boxing is the only thing in his mind with any real pleasure or self of self.  He is not able to fix himself without some help so goes back to the Union Street Boxing Club.  In the club the old faces of Bill (Ray Winston) who is the overseer in the under the railway arches of South East London, Lambeth and beyond, is a reconstructed hardman type as age catches up with the character and the actor.  He portrays it as always with supremely brilliant timing and facial tone.  The rough and readiness is not a put on but an everyday projection of life in the lower reaches of boxing.  He is also the deliverer of some very well crafted lines and the delivery is as I say supremely well gauged as usual for Winstone.  Eddie (Michael Smiley) has apart of a dog eyed trainer.  His long bearded face, the hound of the training ring, delivered in nasal bass Belfast notes by a flaccid poor one dimensional character which Smiley occupies as a reciter of the McGuigan training words and gestures.  Then his other acting skill was to use his hands holding Jimmy’s head in place while he delivered a heated bit of encouragement.  One thing I noticed was he barely ‘smiled,’ no pun intended nor moved a great deal.  No animation whatsoever and someone said it was ‘brilliant’ – some mistake! – and we never got to see his impressive new gnashers.  Good boxers have a good set of teeth if they come out the other end and can afford the replacements the gum shield and constant battering have loosened.  Jimmy McCabe (Johnny Harris) has an impressive set.  Eddie occupies an awful lot of the film as it is shot mainly in the club with a lot of outdoor work and nighttime embankment solid very well filmed and a continuation of the work Jimmy puts in – and it’s far from fake – you get a strong sense of the depths of fitness needed for a fight and it is increased and increased with every frame.  In the club there are the newest recruits to boxing.  A failure of the story was its lack of engagement with any of the junior ranks.  Not one said a word.  Not even conversational asides.  Still this was a minor problem though the same could be said about the plainness of the storylines given.  Not too many sub plots.  So Eddie was ‘boring?’ but not Bill who you got some change from watching his mastery of the part.  Jimmy AKA Johnny Harris has put his heart and soul into this film and it is this ‘tunnel’ perhaps that separate it from being a great British film of the times, Tales of the Long distance Runner, Saturday Night, Sunday Morning genre.  

 

Redemption

Salvaging something out of a life of addiction and getting beyond the harmful effects, which can be lasting and take the edge of everything including pain, is a redemptive cause.  Celebration can come if a success is made of it.  Lately Antony Joshua became a world champion at 26 having been through a few of life’s knockdowns which involved petty crime and misuse of his strength involving also electronic tagging.  His tale is a reality. A very timely one as far as this film is concerned.  There is an unobtrusive soundtrack and it is by Paul Weller showing mixing skills hitherto unheard by myself with it used very smartly (in the way Raw and Jim Williams didn’t – see last review!) with it enhancing the impact of thumping sound mixed punches and scene crowd hysteria with an energy which has you move you chin out of the way of the latest punch.  It is a good cal to have it scored so well and with a light touch. 

Conclusion ###3

For a film to get you gripped by the main character it requires a bit of screenwriter craft to draw you into the essence of the person.  I never got that until it was too late with this.  It was actually in the last third with very little drama involving pathos or sympathy in the arc and I suppose it is because the character Jimmy is an enigma.  He was less enigma towards the end.  As a boxer it is a lonely place to be.  Every boxer is on the way to proving his worth and is out to give up little of his emotional underlying self.  Ricky Hatton, even Muhammad Ali were underneath a construct of multiple persons.  The violent man was suppressed most of the time while they were bodily mentally tuned to be destroyers and to reach the top they had to be just that.  Hence the incomparable Ali performing as a spokesman contender for the whole of the sportsmen of his and any era.  The affable side we also know and love. A master.  This is where the minutiae of live comes into crystal clear focus.  If we were able to see inside a bit more and discover the obvious and real demons – in the minds of al kinds Oscar sportsmen then this would have been a flyer.  That’s not to say it’s a dud.  Far from it.  It’s just that it got the canvas too many times.

John Graham

10 May 2017

Belfast
On at Queens Film Theatre from this Friday 12 May through to and including Thursday 18 May.  For Boxing fans a must.

Raw : A Film Review


Raw 

Director Julia Ducournau Writer Julia Ducournau Stars Garance Marillier, Ella Rumpf, Rabah Nait Oufella, Laurent Lucas, Joana Preiss, Bouli Lanners, Marion Vernoux.
Jean-Louis Sbille as the professor  Rating 18. Duration 1h 39m Genres Drama, Horror.


Probing the flesh

Raw is War in tooth and claw.  Red is cinemas greatest asset in showing in glorious technicolor our raw emotions that inhabit our conscious.  From the premise that within us is a primordial guilt and we seek revenge for the ills of our ancient past back to the dawn of existence we have been fascinated with the bloodlust of others and sometimes ourselves.  The driven kind features heavily and their appetite is satiated in a campus of post-revolutionary Europe.  In a University campus that of L’Universite de Liege, filmed over one summer, writer, Director, Julia Ducournau, in her debut feature film sees humans in a structure of hierarchy.  Garance Marillier playing Justine is dropped of by her affluent parents in a sprawling University campus.  They are past students of the same place and are perhaps aware of what lies ahead in more senses than we are initially lead to believe.   I couldn’t help thinking if they were in part authors or this rite of passage, being from the output from ’68, for their virginal daughter.  In a horrific incestuousness leading all back to the beginning.  Already at the University is sister Alexia (Ella Rumpf) a year ahead.


Journey to self

At the opening frames which we go back to later there is a similar opening to many films.  A open large perspective of a rural connection of a tree lined road seen anywhere in Europe.  There occurs an unexplained event. Cut to the car wth the dog lapping the cheeks of the open eyed Justine whose move from childhood to adulthood is officially stamped.  No longer at home she is on an adventure called life.  This is an enclosed tale of rule making and conformity layered with the very present hormonal discharges of Justines sexuality.  Into this is added the self image and her beliefs which are more or less intact.  As a vegetarian she is setting herself out as having a love of animals which is taken to the point of her enrollment and the family belonging to an ethic of helping all creatures on this earth.

In this environment it is easy to see the disgust of meat eating and it is but not questioned here, a method of exploring whether we are indeed carnivores or as the ancient history will tell us after the ‘original’ sin we became sinful in killing and eating animals.  The proteins of other sources being accommodated only by locational advantage.  The China Study is a book which shows us how to remove meat as a protein source and also shows us how location, China can support a food structure in balance while others hunt and fish plainly because they have an abundance of wild animals, rivers, forests in which flight is not sufficient to save birds, nor speed a reason to escape an arrow.  The Masai will eat from nomadic cattle by slicing off a piece of hind while they walk, covering the wound with mud and eating it raw.  Their choice is confined to an existence without much plant growth.  So how is it God our creator has it in mind meat is a legitimate source of our diet.


Outside life

Justine is confronted by the meat eating fraternity without the family protection.  As a set up we see the family enroute at a roadside cafeteria and out of her ‘veggie’ choice – her parents have moved onto meat eating – probably by obliging the instincts to masticate on flesh cooked into unchained protein as a demonstration of the common predication for eating meat.  In the school of Veterinary Studies there is a ritual and it is a basic condensing of human rules and conformity writ large.  In it the Upper year students in the Dead of Night ambush the entire intake and involve them in a series of initiation subjections which are both a release and an imprisonment.  Mindsare pliable and Alex, Justines sister is already into the camp of the meat eater.  This is despite her own beliefs and she suppresses what Justine still holds as a basic right to decide what she puts inside her body.  

The initiation I won’t describe as too many writers on this film have drawn out all the little details which make it a full on exploration of human instincts.  First time Director at 33 when she made it (at some critics take a youthful age apparently though it is not an age thing, directing chops!) is giving this story an arch violently expressive with some tremendous scenes setting out with accomplished subtlety at times – in the Student clinic for instance there is a great piece of observational writing, then there is the location itself with its optimistic, bunker like, confrontational raw materials of architecture, stubborn forms plain and as the film afore mentioned – ‘What you see is what you get’.  Julia Ducournau has this locked down into Form follows function in excruciating bodily functional detail.  In Train to Busan which is a brilliant zombie movie from a South Korea from last year I took it on to seek more references to the human condition which explored along very similar lines what were its driving forces.  I found it to be the backward launch of the human, back through their mothers, birth a journey to ancient loss.  That read is found by putting into the top right –  search box – Train to Busan. http://wp.me/p2R05n-Hh


Sexual appetite

There are scenes which see Justines sexuality spawn a million seeds.  The male leads in the film are similarly stuck by the new circumstances they find themselves in and their preconceptions are not so much challenged as replaced by alternatives.  Love stories, strange as it may seem develop.  Within this – it is not – mash up – there are several failed relationships and new ones. All concerned with orgasm lust which draws into the equation love and ritualized belongin, hurt and betrayal.  This is another strand not obvious at first but it’s very much there.  From what I’ve so far implied and set out strands of story direction I’ve gotten onboard with the liking community for this film.  At times it will irritate the chops off you, make you cringe at the banality of some use of others tried and rested cinema scoping – the entry frames are so often followed it is tedious to see them range into view again.  I won’t name them but I do have favorites of this intro and they are totally memorable putting this so far below in the lower deck it’s below the plimsol line. Annoying.  There are other beautiful scenes held flowingly with one or two faults, camera hungry playacting, like in the first dance/techno sequence.  The music is by Williams, (son of John?) and it once becomes too much as it is used to ratchet up a particular moment.  It could have blurred out sound or disfunctional sound but it chose the conformity.


Progression towards …. 

The story develops over one year at University and takes on a form utilizing the group without elder supervision other than a few Professorial types who are strangely not equipped or bothered to set anything other than experiments and pick up on grammatical error while also giving Justine further concerns about her outstanding alacrity, skills, understanding of veterinary techniques.  Unlike her  fellow rookies who begin to detest her or at least some of them.  Alex and Justine become strongly connected and share similar demons.  They get into extreme bother and trouble, inviting the entire college to come down on them in their interactions with them.  It keeps ramping up in its violence and portray of the communal internalization while setting out no answers or analysis of the behavior.  Critics so far have placed it in boxes to suit their view and none inclauding myself were able to fix it in a frame of mutual understanding.

 Doctors daughter Julia Ducournau!

Conclusion ****4

Julia Ducournau has composed an odyssey through a young woman’s journey from childhood to adult and survival.  She has used a very able crew and set of young actors who fail nowhere in convincing us of the, beyond recognition, behaviors they portray while putting more than many young actors should in order to be faithful to the task.  The experience must itself been ground breaking on the minds of these young people and Julia Ducournau has probably learnt through it of the many potential pitfalls and erroneous steps, some life changing that enter people’s lives.  The ground breaking element nearly stretches it out to become a genre free film though it is not long enough or dig into the medical, psychological straits of the human pathway.  It is gloriously rich in detail, too much in many people’s minds and plays the willfulness and inevitable harm inflicted mentally on the sisters as in faith.  Julia Ducournau holds the characters hands throughout without being exploitative.  It crosses many lines but being Cinema it’s not a dilemma for anyone. Of course there is revulsion and sickening components but that’s Cinema story telling unleashed with a courageously minded group.

John Graham

27 April 2017

Belfast

 

  

On at Queens Film Theatre from Friday 28 April 2017 and on general release.

Belfast Film Festival : Short Documentary Films 2017


Documentary Short films 10 only. In order of screening at Queens Film Theatre 2 April 2017

Introduction 
The Festival organisers this year decided to separate the Documentary Short films from the general submissions to create a different dynamic. One was the resulting drama, theatrical, visionary output of Shorts as entertainment and of a closer connection to Mainstream Cinema and independent’s of the previous days showing. Foremost among new filmmakers is the notion that they have a new story to tell and hence avoid finding replicant’s of films we are familiar with. The Short delivers a condensed story form or idea and scrutinises it with a particular scenes of occasion. A long form film does this also at times but can construct in the pyramid many routes to the same end. Documentary Shorts are a difficult medium also as there have been numerous exceptionally good ones over recent years. One in a style specific to itself, Amy, several other musical ones, the Iggy Pop one, Gimmie Danger and then there are the ones Notes on Blindness and Life, Animated. These were outside the realm of TV documentaries also confined to a set one sitting viewing. The tendency with Art, History and Science Documentaries is to chapter them. The recent brilliant Andrew Graham Dixon series – a trilogy on the Gothic willing my view for it to go down as a masterpiece of a study on the current sociological vicissitudes, and angst born out of the modern era where money and patronage gave leave for writers to produce ‘analysis’ on past times and create future visions. Post Dante and post figurative art. All these lead into the medium of Film. Exemplified by Frankenstein and Dracula with Hitchcock exploring along with the Gothic of Psycho the psychology of the species.  

Here goes.

The following are not exactly tending towards any sense of the gothic but they are oddly enough in many instances paying homage and advancing Gothic themes or ways of thinking.


I call to the Living and Mourn the Dead 

Very often a tragedy during the ‘Troubles’ – that misconstrued inadequate word for our recent history, is explored and it shoulders a responsibility to maintain in its purpose some truth seeking. This film is of a family torn by internal loss of a brother who fled Northern Ireland for fear of being shot. 

Told by his brother the narrative brings in Bombay Street, Ballymurphy as props and timelines. Neither event directly involving the family. Certainly being in the midst of it it implies may have provoked brother Kevin into IRA activism. Kevin became an on the run. We never hear what became of him nor do we get any insight as to the rights and wrongs of Irishman fighting Irishman. Both residing in Britain so Brit fighting Brit? It was a loss of identity or clamor for identity which drove the conflict on top of Civil Rights, supported by both sections against Unionist hegemony. In this film that intangibility is evident though very thinly explored. People do not as individuals represent the ‘Nation’ but people around them convince them they do and design a politic to suit the cause without sight of the consequences. Like the United Irishmen of 1798 the IRA who had none of the nationalist support of the unique United Irishmen had and Ireland in mind but not a United one. This is a film about everything except the troubles but is enclosed in telling a story about a particular family, a sense of remorse and loss, and a head shaking excessive in why? without any particular vision nor with any disclosure about what happened to Kevin. It was not like the Boston tapes which sought/seek to reveal what is unheard. This was a simplistic version of reality though in itself explains many families still are trying to work out what went on and how they were caught up in it others seeking justice and who will never stop through generations quite rightly seeking the truth on those dark dark days.


Forever roars the Atlantic

This is a stupendous alternative view of the North Antrim Coast as seen through adventurous divers, climbers with a good sense of a dramatic frame and larger appreciation of the wilds of nature that form our coastline. Like birds they fly into the air but as humans drop like stones into the breaking waves and surf crashing into the rocks. The depiction through the new equipment of go-pro lightweight cameras which have their own memory card and possibly new gimble aided cameras provide a brilliant active film of high quality and definition. To give gravitas to the adventurous by acknowledging what this awesome coastline is about – which after all is capped by the explosion of the North Atlantic Plate and The European Plate tectonically providing us with this habitat we know as Ireland – at the Giants Causeway – is extolled by the filmmakers and delivered – partially – by a 200 year old MacGonagle? poem itself a homage to this rugged active terrain. Except it to is not up to the task. Forever roars the Atlantic. That is not even close as this film will testify. The Atlantic is our definition of the Ocean formed after this Coastline took shape in the manner crudely described above. The Forever part is also untrue. These adventurers come to a place where for thousands of years these waves have repeatedly on the aegis of the moon cyclically been crashing in more or less the same way over a vast time. Seasons and moon cycles their driver. So it is to this beauty and awesome place we enter in a different way than we would otherwise see it through these filmmakers and it is a testimony to the gift it is to be witness of it or a part of its immense creation. The film reaches another level of understanding and it’s brevity is one possible reason it did not hold the interest entirely. It would have been interesting to see a greater variety of locations and people if holding the impression it was isolated and became a extreme sports film more than a locality, people driven film.


The Wee Shop

In Belfast the corner shop is a disappearing social staple. The Shop around the corner and later You’ve got mail by Nora Ephron are story films of the urban shop while in Belfast the Irving St John who belonged to a deaf family in Euston Street wrote the very funny play Boyd’s Shop which created a very portrait of the community focal point these places were on basically every road and inner city tributary. They even existed in the backstreets and their lights were on until near nine o’clock to provide for the essentials such as milk bread and sugar and non essentials such as cigarettes, lemonade and ice cream, the weekly pools coupon and a florid diet of gossip. The faltering entity is now a shadow of its former self as this short film makes a collection of a small number of stoical shopkeepers lament themselves about the struggle to remain true to the community corner shop provision they sustain on modest returns. Aside from the butchers and Chip shops and street cafes and fast food outlets they are seldom able to compete and this film is a tale which brings mostly dark humour out with the resolute frank telling of past times. Patsy on the New Lodge Road has plenty in common with her fellow shopkeepers Bill and Norman of Sandy Row and the Shankill respectively. The sorry demise of communities driven to the wall by successive governments undermining through lack of investment in all sectors of community life, the housing, schools, infrastructure, transport and a determination to structure destabilisation through housing allocation and lack of provision for families within communities is seen in these very shops which act as a last connection with the troubled communities they serve and served. By giving as one Shopkeeper explained Consuelo the bigger stores are allowed free access to a market through scale and mainly car accessible shopping. Monster supermarkets out of scale with communities and frequented by out of town bound custom heading to the dormitory habitations which provide identikit soulless housing on former farmland and undeveloped hinterlands of small villages. The film is a marker as were photographs of the same shops and former shopkeepers which provide another outlook and insight to the life of a passing community key. 


Seán Hillen Merging views 

This new short documentary portrait observes artist Seán Hillen as he creates a beautiful new photomontage. He shares thoughts about his work and recent personal discovery. The choice of making a work in the small studio of Seán Hillen is a tool adding emphasis to the incredibly interesting subject which is part of film making achievement; the detail the intensely focal frame.

The intensely imaginative world of Newry native, Séan Hillen in his present home of many years in Dublin is entered as if stepping into the imagination itself. From the immediacy of an introduction to the dark outside and the loved fat bastard of a cat getting a food treat offered with profanity, a source of warm engagement and audience laughter enters the film theatre as The Wee Shop did with its non stop mix of pathos and humour striking a chord here in Belfast. It is a rare thing indeed to see an artist in a studio and while Warhol identified a niche to have photographers, artists, authors committed to coming to the factory and making their written and visual record of it itself became product. Like the late Basil Blackshaw who eschewed the rigmarole of publicity and never courted it Séan Hillen is similarly not keen on intrusiveness. When filmmakers of the aptitude and moxie of Paddy and put it to you they want to make a piece about your work it’s a different matter altogether. The work too becomes an artwork. I was reminded of the groundbreaking film following Francis Bacon back from The Colony Rooms to his house and his immediately getting prepared to paint in the wee small hours of the night. Bacon took time to ignore the witness and get on with the work in his mind whereas there is a participation advanced here in this film, to welcome in the viewer to the processes which attest to their inherent honesty. 

To carry out an explanation of how he works Séan gathers together an assembly of thoughts surrounding a new piece of work. In common with the photomontage works he has been making for nearly thirty years it is a leap into the unexpected each time it would seem and is as I perceived it a conduit of his mind extrapolating for us our own heralded metamorphic conjunctions on possible truths of previously upheld views. His explanation and it’s not given as a foundation but possible source of our connection with his work, is our brains priority in placing – seeing as believing – first ahead of further analytical deconstruction. The eye tells the mind to believe what it sees. Given the mind is relying on a chemical reaction which is fed though light onto chemicals transmitters and is a part of the brain itself we are in teleportation land. In the depths of the oceans we know of creatures that have no eyes. We are aware of the senses prioritising light and colour followed by sound smell taste and touch so reality exists to be broken down intuitively when we encounter only the two dimensional figurative statement of a photograph. Ireland has a complex narrative as does ever inhabitant of it.  

Those in the past have questionable histories so why not confront alternative functions for those times and perceptions because memories lie and people do. Mythology is an art form in Ireland from the pipers lament handed down through millennia to our Newgrange polemic ancestory. We have an Eros of harmony in our lives which is equated with that ancient Greek goddess of discord and the sister of Ares. To the turbulence of the universal rules and reliances we bring construct more often than not based on simple untruths be it, democracy, loving, civilisation and fellow treatment of all living things. To this is the melee we have to call discord, identified with the Roman goddess Discordia. In Séan Hillen’s work – most notably Irelantis this discordance is highly prevalent. The discordance which Séan Hillen relates to and with in the film is his relatively recent knowledge of his having the Asperger’s condition which has performed a cathartic revalation for him to the extent previously unexplained attributes were held at arms length rather than their current state of becoming part of the reasoned dialogue.  

To an artist this must be a great benefit as well as a perpetual commitment to the Aldous Huxley doors of enlightenment. Huxley was taught by his father of the possibilities the mind could extend to. The Prelude And Præterita of Aldous therefore were built in his DNA along with the affinities the mind constructs. Seeing here is the artwork progressing along those very lines. Such was the source of the Huxley concepts of cosmic and social order to effect a transformation in Western thinking parallel must be held appropriate in advancing towards recognition of viewpoints we are yet unable to understand but have a belief they are of such magnitude as to affect our present existence in unknown ways, we are basically staking our whole existence past present and future on that construct being manifest. Whether it is true – and these art works as well as many other artists works – tend to that possibility – that we are not yet able to see it – is what allows us the freedom to make such conjectures. Ireland, Eire has Greek connections to the word Peace the opposite of discord ironically. 

There was a palpable stunned silence as the revelatory images became clear and that we were witness to a photomontage which proposed the absurd to not only to be a possibility but had certain other occurrences happened, they could not be dismissed as mere juxtapositions of intangible fluid thought and were reminders how we perceive things alive and active. Advertisements and the land of fictional representation, the apparel label logos identity symbols and members of the semiotics of visual language. While many are on the parameters of fictional forces there are others which are disablingly, perplexing and of deep embedded truth telling however ‘inconceivable’ they might appear. Our consciousness is at a place we’re we are incapable of dismissing them, as perceived certitudes divide us and make us what we are. In preparation for God it seems our goal is to seek out beauty in harmony with the universe. This simple aim is difficult for the human as existence is made all the more confounding by the Bible quotation of God being sorry for making us this way… ‘failing’ you becoming ‘sorry’ in the KJB. 

The Irish Film Festa10 asked of Paddy Cahill 3 questions 

Why did you choose to make a film about Seán Hillen?

I’ve been a long time admirer of Seán Hillen’s work but it was last year, as I visited him at his home to buy one of his prints as a present, that I knew I wanted to make the film. I wrote to Seán right after asking if I could make a short documentary about him and his work. Seán has an amazing backstory, which should be told in another documentary, but I was really fascinated by his home/studio where he creates his amazing work.

The film is set in a small room:

How did you work in terms of frame composition and editing?

When we filmed it was just myself and Basil Al Rawi, our director of photography, in the house with Seán. It was very important to me that we would be a tiny crew, although not much more would have fit in the room anyway! One rule I tried to keep was that Seán would only talk or answer questions while he was making work. That way it would be less like a traditional documentary interview. I thought that watching Seán work while he spoke would be more interesting to the viewer. This also gave Basil the freedom to get right up to Seán’s shoulder and compose some really beautiful cinematography.

And how long did the shooting take?

Along with producer Tal Green we were planning the filming for quite a while but the actual filming was over the course of one night only. I wanted the audience to have the same feeling we had when we filmed as if they just dropped in one night, to this unusual house on a normal looking terrace street in Dublin and got to watch Seán create one of his works.


Oor Wally

There is a pride about Elena Taylor as this film shows about her beloved Stenhousemuir Football Club. In the introduction she tells the unseen cameraman and us, ‘This is the Toilet’, then shuffles along fully kitted up as Stenies long in post, mascot Oor Wally. Or Wally if you prefer. Being a Wally is an unfortunate choice but like the Broons, and Oor Willie they kit the name out with further embellishment so as not to frighten or lull the away supporters Wally is a push over. Decorum is very much Elenas take on it. She is a woman on a mission and gives her all to the role. She takes the cameraperson up the bread aisle of her day job in – well it looked like Asda – and into the toilets. On the wall are framed awards, the latest has yet to be mounted. The Frozen foods aisle brings us and the camera person back to earth as Elena spreads her cheerful banter about her workmates like jam on a scone. When you see Elena sans outfit she is a normal middle aged lovely heart warming person with a radiance she likes to hide, well most of the time, under her alter ego Wally. Once the bloomers are sorted the undergarments correctly in their place on goes the outer shield of the Stenie shirt and leggings. Then Wally the presence, the overlarge head. Then all sorts can be expected. When she walks to the ground past folk going about their business she hardly causes a stir – other than a cherry hello – but on the contrary would be missed if unsighted. As a mascot she takes on dangerous tasks as a meeter and greeter with contact with away fans a thrill no doubt of any day. Newcomers to the home end are easily spotted and welcomed along with the regulars. Defeat is often considered up to fifteen minutes before a match and then a switch is flicked and defeat is out of the question. Warm up coaching of senior players, (l doubt she would berate a younger player) is a forte. Hitting balls over the bar doesn’t go down well and admonishment comes fast and flavoured. This is a memorable film unlike the season they often have. To survive is one thing but to live the dream is another. This is a delightfully made, sincerely felt, no half measures Film – grit loss victory treated just the same – but overall it is a portrait of a lady who goes out of herself to provide an added dimension to the 90mins + added time and long may her reign and Stevie’s need for support continue.

Roys Story

Along with the film below this is similarly voyeuristic of a delusional. A rural storyteller in this instance who is no Len Graham. Being a short it sets up a middle aged man in a field with a microphone to tell his stories which all involved se some stength in. I came to the conclusion swiftly it was a waste of time. Sorry but this was banality writ large.


Raymond

There is something exploitative of finding a lonely old farmer whose lived in face and accumulation of history and things is penetrated for its Irish eccentricity. The director has become aware of this man who lives almost hermit like and who makes a life for himself with the fishing and stores he has in isolation. Maybe he is able to sell some of his catch. Sell some potatoes and vegetables. Instead of this existence the portrait is portrayed by the whims of the existential needs of the filmmaker as it could sit nicely in contrast with the nature surrounding the elderly gentleman. The hubris of an elderly man putting his hand on the Bible unprovoked I presume and him telling a story of empty confused allegiance to an almighty or faith element is an infringement which I found it both unedifying and plain damnable by a filmmaker. To see this old man and hear what he supposes a reality from the living while they are the stuff of delusion and an uncritical perturbed complex mind is a travesty. To see it got and it does not surprise me in the least. There is always an appetite for this voyeuristic cannibalism of the form which is painted over with the smoothness of wet bogland, rivers coursing, banks of standing reeds and is as unpoetical and pretentious guff as they come. It is no great insight to rural Ireland and though it records away of life which hopefully is on the decline, there are numerous colonies of self-formed groups living ‘off grid’ but this is quite common in the face of rural agricultural land ownership and immigration. Indeed this man is a returnees so has plenty of experiences which are contrasting. 


Casion : A Chiptune Documentary.

For the second time in this Documentary set we see an art film and a well considered vision of a section of music rarely encountered. The niche is electronics made with Game Boy and Computer Game sound effects. This is like the Seán Hillen work an analogue type of art form. While extensively digital it is conversely instrumental as it is the controls of the devices that enter the latitutude and longitude of the scales and contort, conspire to be a cascade of sound. Set in the environs of public performance in a small club – having been introduced to the subject by the protagonist, player, Jamie Belvedere of his standard nomenclature of Chipmunk this sideline is a very attractive creative outlet which reaches into the aural space of a small rom with familiar vote and sense of alternative sources for of sound. The audience are appreciative and get it, the cinema experience can only touch the edges, and they shuffle, look around and take in this vibe with knowing connection. The intensity of the raw sound and its boundaries are well captured with editing filling in direction of travel. From production to trepidation and worry of ‘will it work’ to it coming together joyfully in a club as an essence of a particular module of electronica. Itself limiting that’s not really a concern but it’s conception as a medium is uniquely choreographed for the reasoning of musics own art form and it’s seemingly unlimited contagion. I enjoyed this dark and driving film with its new delivery of a niche. If it receives attention beyond short film viewers and sound freaks or everyday avante garde travelers then it surprise a few but it’s unlikely to get to reach very far unfortunately.


The Fashion Show
I’ve placed this film short high on my list of preferred films over the Festival. It’s unasssuming erudite, irony and clever depiction of a rural moving on timepiece of a Summer Fete is of a pathos, humble, Ulster form self parodying and reflecting on the time taken out to be at ease and just have fun. The camaraderie is placed on top of a headline (McDonnell – Glenarm) Scots-Irish backdrop. The fact the estate is so large and festivities are a local staple annually preserve the falsehood of landownership while being a countenance to its presence and inadvertently provides a soft landing for its ugly sequestration. The hero of the film is the stoically alert, intelligent, wide thinking Ruth Morrow who contests herself into becoming an alter ego in the form of Game icon. Super Mario and sidekick Luigi. Luigi is taken off field duties leaving an upset mum. This is temporary but Mum is unaware of this and weaning is not easy. You’ve guessed who fits the bill for Luigi’s part?

In The Fashion Show is caught a bright light in the world of Ruth Morrow trainee shepherdess and the Gamer heros were a breathe of fresh air too. The sublimity – (solid to gas to solid again seems appropriate) – of the world of a rural community letting its worries pass into the afternoon sky temporarily was a lovely escape exquisitely creative and insightful. The surreality of the theme developed was a natural phenomenon and a really enjoyable watch, thoroughly well done by a burgeoning talent. The way it took us through the fete was itself an insight without being intrusive. For example we never learn who the ‘entertainers’ they give a massive swerve to are and likewise no morality or judgement is passed. Only the curmudgeonly like myself who set about seeking a higher meaning or sense of displacement onto other things, by attachments, sentimental or otherwise, have occasion to appropriate the message of entertainment in a simple form. It’s just it is done very smartly and with a beginning, middle and an end which is itself an achievement for a short film. The view from the estate is wonderful and it is something all love to be connected to despite it being in someone else’s ownership – perhaps that is why the Sea has its draw.  Any answer Ted Hughes from far?


Martin 

Established and busy photographer Donal Moloney of Dublin noticed on his frequent movements around the inner City a homeless person who on meeting him turned out to be Martin who disowned the title homeless as his home was underneath Pearce Street Station under arches. Donal was attracted to Martins presence Ashe was a fixture of this locality and was intrigued enough to investigate. We have the resulting film which follows on in perverse logic some photography work with the ‘homeless’ Donal Moloney had been engaged in over many years. Father Peter McVeery who is a Catholic Priest who makes it his life’s mission to help Dublin’s homeless and disadvantaged. The Arrupe Society in Summerhill being the probable source of food for Martin and the biscuits he crushes under his boot for pigeons around Pearce Street. I did not hear his name crop up or did I miss it? This instead avoids spirituality as a hindrance to proper discussion. It takes the dubious philosophy and delusion of happiness into acceptance on the part of the Director for its scenic unmaterialistic value set yet adds tokenistic view of society from the perspective of a person who lives on its fringes while spending time reading in a library in the worst of times. Weather beaten and with pure instincts for survival Martin has become a model inconvenient tag ‘homeless’ person to partner with Donal’s photographic skills so identifying a product and a placement which the pair have contrived as a contribution to art. It removes itself from definition, parody or pathos as a singularly lax story, I can’t think if one is more deluded than the other but as a film of a nomad on the streets of Dublin whose sadness and rejection of the assistance is temporal according to him, one of rejecting help is sanguine, almost sanguinary imploding as a mystery, is of little merit given the conditions of crime, poverty, addictions, child abuse and societal hemorrhaging seen as a white canvas to invent illusion upon. The Belfast Film Festival Documentary Judges Committee came up with this as the joint winner amongst all the above with Raymond. They, to my mind, share the same insensitivity, and intrusive voyeuristic tome required of insensible unconscious filmmaking. There was not a creative moment to be had beyond contrived happenstance.