The Final Year : A Film Review

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The Final Year

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

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The Final President

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

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

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

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Term of Office

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

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Adjust the War

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

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

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Global Diplomacy

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

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

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

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Dressing wounds

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

Imperialist allies

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

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

Hell is in the clouds and earth.

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

Conclusion ###3

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

John Graham

18 January 2018

Belfast

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

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Rocky Ros Muc : A Film Review

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

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Boxing Documentary

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

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

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

Seán Ó Mainnín, Rocky Ros Muc é féin

America Constructed

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

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

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Boston’s twins

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

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

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Being a Contender

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

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

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

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

Boxings knife edge

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

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

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

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The Cottage Padraic Pearse grew up in.

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

The Other Star

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Conclusion ####4

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

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

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

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

John Graham

24 November 2017

Belfast

from Friday 24 November 2017 until Thursday November 2017

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Movement is Political – more thoughts.

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No Stone Unturned : A Film Review

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No Stone Unturned

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

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

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

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State Corruption

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

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

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

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Evidence

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

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

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

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

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

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

Fargo is nearer truth.

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

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

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

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

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Rupert bearly believable.

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

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

Glenanne Report

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

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Conclusion ####4

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

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

John Graham

8 November 2017

Belfast

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

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

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Risk : A Film Review

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Risk  A Documentary film.  1hr 34mns.

Credits. Julian Assange |Sarah Harrison | Jacob Appelbaum | Joseph Farrell | Renata Avila | Jennifer Robinson | Erinn Clark.

Directed and produced by Laura Poitras. Produced by Brenda Coughlin, Yoni Golijov. Executive Producers. Sam Esmail, Vinnie Malhotra, Charlotte Cook, Aj Schnack, Michael Bloom, Adam Pincus, David Menschel, Jess Search, Josh Braun.

Risk is living.
Watching this film is to reveal the background and recent history of Julian Assange, the Wikileaks founder, as he continues, up to and including this films conclusion, to be confined within the British based Ecuadorian Embassy, Embadapa under continuing detention. It also take us to the USA and the recent Trump/Russian twists since Trump’s appointments were brokered.

For all the challenges making a film of this sort presents problems, of time and with changes arriving thick and fast it through recent revision stands solidly as an extremely informative documentary – regardless of the complex co traditions it presents.  “I thought I could ignore the contradictions. I thought they were not part of the story. I was so wrong. They’re becoming the story.” confides Poitras at some low hanging fruit of Julian Assanges –
firmly blethering (sorry Julian I couldn’t find another word!) views.  His on-camera intimate talk is a very uninteresting insight to his woolly, almost seeking alarm for the sake of alarm on camera in eyebrow raised marks (tumbleweed) and some sympathy is felt, given his imprisonment, when cameras rolls on.  It is after all though, a platform which cannot be turned away given his enforced hibernation.  It consequently shows the talk as uninteresting but the whole idea of a documentary is one at times of it becoming theatre and the actors are without a script.  Some people have been severely critical of the style and filmic indulgence of Laura Poitras whose shots take on the feel of a drama when misty window reflections and artfully caught shape and darkness illuminate the bleakness of a particular dilemma or circumstance.  I believe it entirely legitimate and it implies the truth is not what we are here to see but a construction dealt with a fixed deck.

Film Review Risk

Time discloses all.

The film starts of with a view of Julian Assange in the company of the Director mulling over the outline of their collaboration.  For Julian Assange this is a much healthier time as he has relative freedom and is (only!) under curfew in a friends house in deepest Norfolk with access to the beach.  It is 2011 and his trial concerning extradition to Sweden is being contested while sundry other things are about to unfold.  The main tiger in the room is the Wikileaks formation digital encrypted document Bradley Manning has placed on the site which a password protects.  The data document, it is learnt in this early part of the documentary, has been uploaded on the interface of Wikileals without password protection.  All of the USA secret files of operations accessed are unredacted and therefore contain good and bad data.  Essentially the window is open and paper is flying everywhere on natures wind – the global internet servers are available for anyone to see classified USA documents and make of it what they will.

The breach is on Hillary Clintons watch as Secretary of State and hurried anxious phone calls from Norfolk – Sarah Harrison, legal eagle, contacts the Whitehouse and try and alert the Presidential Office, as to the carrier pigeons in flight with her Governments information with the impending prospect of ever inquisitive persons monitors lighting up and printing off, for bedtime reading – prior to good wifi, sufficient storage, small tablets which go to sleep and produce real drama and most probably a rainstorm of dirty tricks and unscrupulous methodology which is without moral bounds.

The relationship between the film maker and Julian Assange is one of pragmatism.  He is in the clasp of legal and national sidetracking issues, and the drama of a documentary on one of the world’s most proflific activists probing the internet as a deconstructionist with exposé, after revelation, – high currency for any documentary maker.  So it has a purpose first of all which we must be well prepared for, is of hubris and confident trailblazing while underneath lies a story of individual imprisonment at the hands of powerful forces with his allies equipped with little more than a large corporations staffing levels – the volunteers are widespread and underground as they piece together support and inform the dialogue – they have unknown funds and heavyweight supporters probably.   The narrative is after all a needed platform.  All platforms are fair game and we get a glimpse of a pop star filming an amateur post type interview in the Ecuadorian embassy for fans and the interview is staged less formally than Assange initially conceived of it.  Then came the cringeworthy questions. Cleverly the talk was directed by Assange at the USA where the main audience of the video existed.

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Visionary in the dark

Laura Poitras is a very clever match of combatant for Assange as she disallows his taking over situations and firmly places the focus on the conditions and surrounding circumstances of the news not brought to the everyday exposure of the information war. Laura Poitras is also a fellow activist with the extraordinary film on Snowdon, Citizenfour, a groundbreaking style of news telling and undercover deliverance on her roster.  Then previously The Oath.  We are still not convinced or editorially equipped with disseminating this form of investigation and revelatory truth seeking and telling.  Every scene is chillingly real with absurdity of the everyday crashing in and out with natural dynamism having the alarming contrast just beside it.  It’s our reality of having without due process contrived to risk (first use of the word) allowing the Courts to remove him from the UK and place him in the unstable hands of a Swedish, see what way the wind blows, democracy. ‘… pretending they are a stickler for process.’ Assange.  Venues for the camerawork are Norfolk, Cairo, London, Fort Meade Maryland, (received footage?), Tunis, America (Democratic election convention), Berlin, all places where the Wikileaks narrative tales us.  Some of it is illustrative, such as conferences for nerdy hackers, or venues where Julian Assange draws crowds by his absence.  Frontline Club host large venue quasi conferences with speakers and networking possibilities.  Usually a tube stop or two away from mine hosts M16 and Foreign Office, Home Office spooks.  Although primary taps and surveillance is of more import.  The spies are everywhere and House of Cards needs a backstory.  A very unsavoury moment of trouble in the ranks is the overview of a parallel organisations leader also being wired for sexual misdealings.  Jacob Appelbaum is portrayed as a villain – (the film indicates no charges yet exist) – he drops a sexist comment in front of Muslim pupils of hacking talk.  It would just be as offensive in any location, private or public and here it is on film.  and he occupies another slot in this film, shot in Cairo, when he exposes the state run Mubarak directed, TE Data at a open symposium of internet providers, of shutting down Twitter traffic and platforms for media exchange.  This is accompanied by an outbreak in the room of rapturous applause.  Every country will have its internet traffic police while the ‘Engines’ of social media are themselves being censored or being controlled for improper conduct which a lot of will be politically slanted.

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Situation comedy

An interesting exchange is filmed in a quiet Countrylife inspired lounge, draped, scatter cushions with Dame Helena Kennedy and the non-speaking Gareth Peirce whose silence is equally – better than that actually – entertaining as the ultras trade axioms and lawyer psychology which is to prepare a Assange for his press a Court Appearance.  So Assange’s referencing of lesbian inspired ‘tag teams’ jumps out from the notoriously crass and febrile Assange speech which his blethering style exposes. The flushed and pyretic Kennedy does not know where to look and Poitras catches this English wordsmithing, with the same silence, the by now, presumably, dejected Gareth who has met real victims and fought tirelessly in the frontline of Human Rights sitting with controlled propriety.  Sublime and an example of ethicality.  No wonder Churchill wished Business to be written and agreement not based on conversation. Recall being everything.  The drink from which Wikileaks depends, so the contrast could not be more sweetly expressed.  Physician heal thy self.

The people who feature alongside Julian Assange were constant foils but most were equal to the Assange modus operandi.  The priority was to understand what was at stake. For this you need lawyers.  Not of the level and elevation of Peirce or Kennedy but the rookie type whose Court experience would be limited.  There is no validation of this but it was like having House of Cards interns at your beck and call.   Some were very much above the hubris and grandiose ‘I’m not a martyr’  but a conflicted human being type of projection Assange fronted up with.  Sarah Harrison is the Lawyer in chief.  Her steadiness and practicality and inmate wisdom was a valuable docking in the stormy waters.  Likewise the very clear headed forthright Renata Avila an articulate devilish driver of the nitty gritty and consequential.

In every sphere of public life corruption and catastrophic decisions amplify and Law is the stalking horse most rely on.  In the regimes and democracies it seldom abates. These islands can attest to the duplicitous role of Governance outflanking and disregarding Law and its victims are many.  Attribution happens on either side with the extensive new or relatively new form of scrutiny enabled by Wikileaks has opened up a whole extraordinary proof of this.  Recent events have presented with regard to dealings of nations intent on influencing anothers course.  Some may well be in relation to the safe storage in unblockchain protected localities of immense wealth, accumulated through regimes borderless dealings which have their nation’s looking vain for the money or restitution.  Imagine a prospective ‘West’ Presidential Candidate advising a sitting ‘East’ President (a perceived foe) where the accumulation can be secretly secreted.

Our information is incomplete
Our present dependence on fast electronic communication which is barely 40 years old, across continents and borders without the impediment of time or locality has made us evaluate the systems we use of governance and the open transmission of information.  Around 1960 TV was upon us as a window into other worlds and media dissemination of news and was authorially controlled by the license providers, there came in 1967-69 a western appetite to know what was going on in Eastern block countries, how civil society worked in China, Indonesia, with a vision exposed of inequalities defined in Human Rights terms.  Inwardly the USA became, with Civil Rights activism, a lantern for freedom fighters to demonstrate and to a lesser extent in Paris and London these voices for freedom exploded into living rooms instead of through newspapers but as barely 12 hour old news.  The crush came with the Eastern Czechoslovakian Dubjek being raised from obscurity as an opposition leader into a virtual figurehead for non violent revolution.

That was 1969 and what materialized was a culture of investigative journalism.  The story of much earlier news manipulator/manipulated ‘reporter, Roger Casement and news management comes to mind.  Alongside it the apartheid staining otherwise seemingly benign places such as South Africa and Rhodesia (Zimbabwe) and nowhere was out of bounds except the totalitarian nations such as China and by dint North Korea a hateful terrorising oligarchy which sat as a de facto attack dog for China and its wider interests.  Our story of Wikileaks contains a terrine of global pottage, c’est-à-dire, a conglomeration of mass ingredients cooking away with sometimes overspill and untasteful results.  The mix is toxic and it’s terrine is Wikileaks and it’s operators, head of which is it’s founder, the Australian Julian Assange.  His name is synonymous nowadays with a frontiersman like truth seeker.  He does not rely on God or mantras but his individual conscious is high toxically for him, developed to speak of the sins of the universe and their authors by revealing not their persona – because participation in the construct Assange wishes to disrupt and reveal its contents is consiratorailly under the control of a minority of the minority who have vast sales of self-identity, perceptions of nationhood and history which has accumulated to a self-representation and nullifying absurdity which is the twin of Julian Assanges own idealism.

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Despair and loathing

Both Assange and the people whose information is secretively held and the indictments of their corporate collusion is in the folder of the vast exchanges with reliance on technology sparing disclosure.  Wikileaks is a data hungry cyber animal and its food is
everywhere protected by insider traders like Chelsea (Bradley) Manning and Edward Snowden whose instincts for change and robust propriety were challenged by the information the American public, in whose name these revealed actions were being disposed, unaccountably, but had reached them – Manning, Snowdon – as persons of conscious whose instinct was to upload the information they had obtained via. protected routes to Wikileaks so they could decide on publication.   This film which must be itself be read as a document with T’s crossed, comas carefully placed, is a reveal of sorts.  It has a news management feel with a climateric cresendo worthy of an opera.  The tailpiece is well known with the election of Donald Trump being sullied by the interventions, presently denied of state sponsored data breaching which firstly created Fake News around Hillary Clinton and saw the infiltration of Fake News of her Democrat candidate runner Bernie Sanders be eclipsed as information became micro managed – now it is contagious with Donald taking to the Twitteriati to spell out in 120 characters his character at others expense.

Allegiances among the Wikileaks foundation are an engine room of Lawyers, high octane interns getting a fix on freedom of information as led by their ringleader Julian.  The film is a world wide documentary of events with certain areas seemingly out of bounds.  GCHQ has occasional moles but it is a minor pest control issue.  The unbearably influential rise of independent disenfranchised terrorists as written toxically in Northern Ireland as a template by the IRA is untroubled by any Wikileaks.  Whether it was the authorship of Protestant, State collusion, Catholic freedom fighters that period was when the nail bomb, coffee jar bomb and car bomb all were sworn in as terrosit devoces.  The car bomb as well as lorry-jacking with a driver virtually chained to a bomb became routine methods of attacking authority, consequences be damned, fellow human beings collateral appalling damage.  Property destroyed was not enough.  Institutions stood unaffected, they simply moved locations as and when.  Offices and civil life was targeted and an unwired network prevailed with murderous results.  A large Northern Ireland, British Establishment shaped hole exists in the Wikileaks story.

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Conclusion ####4

Cannes 2016 saw the release of this film which has been re-edited since the Democratic National Committee email leaks and also picks up on allegations about sexual abuse by another activist Jacob Appelbaum in a neat parallel to Assange difficulties which stem firstly from his own private life.  Where there they are to be believed or not is not part of Laura Poitras’s intention.  She must place testimony on the record where given and it is not avoided.  Primarily she has followed this phenomenon, the Wikileaks impact, since before the Edward Snowden film Citizenfour which went places the fictional one was intensely lacking in.  The balance of the film is caught well by the filmmaker and it is brilliantly effective in revealing the revealer insofar as ‘civility’ and privileges of privacy impose.  Having introduced it at Cannes as one thing required an updated version given the significance of revelatory exposés on the Democratic fight for the Presidency.  The reading of the film als needs adjusted.  It is very unfair to see this film as breaking conventions of documentary.  Every documentary you will have seen has a slant or tableau formed through the vision of its author. The Director here is in possession of a subject which intrudes her and delving into the minutiae behind Embassy doors is fascinating.  Not only for what it reveals but for us to see the double standards lives are made to comply with in any democracy.  Forgetting about the subject – temporarily – it becomes a portrait of human condition and conditioning unparalleled as information is our voice and rhetoric.  The everyday confrontation with falsehood is so theatrical.  Amal Clooney is witnessed from a roving overhead crowd shot of a congratulatory walk from the English Court by his side every step of the way.  The spectacle of the press is amazing to witness as we are not yet ready to screen courtroom proceedings and definitely not for tweeting out proceedings.  The knife edge is the Directors and she comes up with some close shaves.  Apparently some zoos have been doctored at the ‘actors’ request while it resonants later with the theatrical disguise of Julian Assange last public appearance.  The one adopted to go to the Ecuadorian Embassy.  The red post box seen outside is one he cannot use.  If he were to step onto the street to post a letter in the stout transmitter of private correspondence.  They were green before July 1874 when they were painted post box red.

It is an outstanding, at times electrifying piece of work and addresses the duality of providing another platform to hype the task undertaken by Julian Assange and the need for filmic storytelling to be compelling and it borders on a sitcom type of sedentary watch with mother at times as a lot of talking from the principal party is only watchable if some twist of narrative or misplaced meaning or word makes you pay acute attention because here is someone who has brought some riveting knowledge to our times.  Don’t blame the messenger.

A credit arose as it closed  –  In loving memory of Michael Ratner (1943-2016), who devoted his life to justice

John Graham

28 June 2017

Belfast

Screening at Queens Film Theatre     Showing: 30 June 2017 until 06 July 2017

Loving : A Film Review


Loving

Directed by Jeff Nichols, (Mud, Take Shelter, Midnight Special) Produced by Ged Doherty, Colin Firth, Nancy Buirski, Sarah Green, Marc Turtletaub, Peter Saraf. Screenplay by Jeff Nichols, Based on The Loving Story by Nancy Buirski.  Cast.  JOEL EDGERTON -RICHARD LOVING, RUTH NEGGA – MILDRED LOVING, MARTON CSOKAS – SHERIFF BROOKS, NICK KROLL – BERNIE COHEN, TERRI ABNEY – GARNET JETER, ALANO MILLER – RAYMOND GREEN , JON BASS – PHIL HIRSCHKOP – MICHAEL SHANNON – GREY VILLET.  Music by David Wingo, Cinematography Adam Stone, Edited by Julie Monroe, Production companies – Big Beach, Raindog Films. Cert. 12. Duration 2hrs 3mins.


The blurb

The true story of Richard and Mildred Loving, who were arrested in 1950s Virginia for the crime of getting married.  The year is 1958 and the Civil Rights Movement has barely begun. Richard, a white construction worker, decides to propose to Mildred, a black woman. What should be a happy beginning to their life together soon becomes an arduous legal and political battle against the state and society. Driven out of their hometown, Richard and Mildred Loving spend almost ten years fighting for the right to live as a family in the town they consider home. They push their case as far as the Supreme Court, resulting in the landmark annulment of the discriminatory Virginian law banning interracial marriage.

 

Story unfolds

Opening with the face of Ruth Negga, pensive and seeming forlorn the frame extends to include Joel Edgerton as they contemplate an event that will cement and form their relationship.  It is in this context of inter-racial harmony, togetherness and unity we are then shown the integrated social Virginia backdrop.  The backdrop of motor racing or as they have it, drag racing petrol heads and enthusiasts of different races, no pun intended, relax and compete and show their macho skills in basic road souped up cars.  Nothing too fancy.  In the late fifties when this is an automobile high customised era of ‘winged’ chariots with valances, fins, chrome, tailegate motors expressing freedom these racers are mere tools of competition and all the scrutineering follows the rules.  Richard Loving (Joel Edgerton) is a bricklayer/blocklayer working mainly on new houses with a white crew.  It’s noticeable the workplace is segregated and I didn’t see any black workers on the sites where it is a good payer and is regular work.  Mildred Loving nee Jeter (Ruth Negga) is s field worker in a plantation of tobacco and is part of a young coloured community whose work is labourious and achingly demanding.  The mix and split of these Virginias is already an orchestrated unity.  They are joined but separated by class.  The hoe-down after the Drag racing shows them together as free spirits raised and enjoying themselves. The reality is the separation is constructed by the state racial fundementalists to manage and control them.  The sense of order is plain as no revolution is happening and only later when the marches of Martin Luther King emerge via. the TVs screen which is a new medium delivering its dose of engineered mostly white produced programmes, is there a consciousness of the underlying oppressed people.


Breaking the circle

By telling this true story with an impeccable faithfulness to the events and without overdramatising the conflicts Jeff Nichols knows what matters.  The couples relationship is dealt with as an everyday love between neighbours.  Richards family is a farmstead with a few barns and no father.  His father in the past worked with for a black man andtherefore Richard’s heightened awareness of difference has another dimension.  He knows the establishing of a means to make a living is so important and management of the returns, resources, is a separate thing entirely.  Unions and workers rights themselves in their infancy.  Richards home is a 5 step timber house. I call it a 5 step verandah house as it is the Southern style of open porch under a roof edge raised as a stoop common throughout the vastness of the country they live in.  There is room to breathe the night air.  Mildred’s house hasby contrast a 2 step verandaed home.  There’s is a slightly lower less long established home.  The settlers of white stock brought this form as a colonial imprint and the black people who they now lifted with took up the style of living. Jeff Nichols takes this environment as his main template going forward in the story.  The day to day is familiar and working to mutual advantage within the restraints and constrictions.  It would be acceptable for a white and black person to live together, sleep together providing they were not married and they would have to suffer the isolation having offspring would bring and perhaps be forced to move under those circumstances.

Humanitarian rights

In this story the most important thing is the groundbreaking change the Loving’s bring about.  It is told from the very first instance when they decide to get married out of state in Washington D.C. Colombia and in a matter of fact way it happens in a registry office with Mildred’s Dad as a witness.  They all have a journey to D.C. Which underlines the backwardness of where they came from.  In the recent elections the states around Washington D.C. were distinctly democrat hence the poor turn out for the inauguration.  The movement of reconciliation – first of ridding themselves of the colonialist English/British enslavers then the Abraham Lincoln abolition of slavery had its focus here.  The slavery remained in effect through the inequality and suppression of cultural freedom which the right to choose who they married underlined.  

So the first time the legal side of things arises is when they live openly as a married couple and the local police act on instructions to arrest them.  It results in a court case and with local representation they accept their fate and move out of state to avoid incarceration and separation.  Mildred is very much now the focus of the film as she raises a family with the help of relatives they have a home and we notice the children growing in a small enclosed space.  Some direct referencing by Neff Nichols to the urban nature of this existence is played out but now the singularity of their case comes to the notice of the American Civil Liberties organisation and in steps another principal performer. Bernie Cohen (Nick Kroll) who is a rookie human rights lawyer full of optimistic favour but little common sense.  There then is the highlight of the movie for me a meeting in which he sequesters an office of a Law firm and manages to take on the gravitas and bearing to welcome Richard and Mildred to the concept of challenging through the courts the injustice they met in their home state of Virginia.  His niavity is very funny if it were not so devoid of reality.  Nevertheless as things move on they find a way to advance the case.  Into the package comes a Human Rights Lawyer who knows which buttons of legislature to press and the sequence is followed through.  Quite interestingly and it’s an obvious choice made, little ‘Courtroom Drama’ by way of the tension filled portrayal of landmark cases some directors ratchet up, we are treated to a matterfact brief hearing of the issues in succinct facts which is a very, very important factor in this films mastery of a difficult a prolonged process. It is a very wise move not to Labour on the machinations but put the case up front and central.  Cohen. And his cohort spelling it out. Judgements follow.


Pace and time

 The film is slow and changes in the story are therefore anticipated given the known history if not the longevity of the whole sorry apartheid.  Racial conflicts and violence are eschewed and it is a story well told due to the simplicity of the families confined to the story.  The movements between them for certain events and the passing of time is only loosely appreciated by the children.  An awful lot of the time Richard is tinkering at cars and is on the sidelines but fully behind the  battle Ruth takes a great deal of interest in and is the titans holding on to the political and gigantic nature of it.  Possibly it might be true to say the film sags in the middle and is in need of an uplift which comes in the form of the case taking on its seniority.  The state of Virginia need be challenged in the Supreme Court where about one in 400 cases assigned to it are every taken up at this level. As interracial marrying was against the law – a matter of “miscegenation”, that notably science based attribution, has them after the harassment and being locked up, guided through Mildred’s having initially written to Bobby Kennedy,  the ACLU is able to take their case all the way to the Supreme Court and change America’s ugly Jim Crow race laws of the 50s and 60s.


Conclusion ####4

I found this film worked by following in the middle of the story the emotional switches and triggers Mildred Loving nee Jeter (Ruth Negga) produces from the very first frame.  She is intelligent, graceful, dignified and assured of her worth.  Richard is also sure of his love and is unable to express it the same way which shows when he is a backcourt no comment reply outside a courthouse to the TV whereas Mildred is despite the signs to the contrary – hopeful. Jon Bass as Phil Hirschcop is splendidly youthful and fits the pieces of the jigsaw together in terms of the Law.  Both he and Nick Kroll as Bernie Cohen derserve a second mention as they are a unit playing off each other’s belief in the strength of the Law and the ability of the Supreme Court to hear and accept their arguments which in effect they do and it is no small achievement.  Micheal Shannon who appears in several character roles in Jeff Nichols films is cast as the Life photographer reporter who visits the Lovings and creates a US media phenomenon of them as a normal couple in a normal state of marriage growing up raising children.  They are hard working and it’s is as he shows it.  Despite the dip in the middle this is a carefully crafted and very watchable film and has important nuances and insights which are seldom given space.  I thoroughly recommend a viewing.

John Graham

2 February 2016

Belfast
 Screening at QFT from Fri 3 Feb – Thurs 16 Feb

.

Jackie : A Film Review


Directed by Pablo Larraín. Produced by Juan de Dios Larraín, Darren Aronofsky, Mickey Liddell, Scott Franklin, Ari Handel. Written by Noah Oppenheim. Cast. Natalie Portman, Peter Sarsgaard, Greta Gerwig, Billy Crudup, John Hurt. Music by Mica Levi, Cinematography Stéphane Fontaine, Edited by Sebastián Sepúlveda, Production companies, LD Entertainment, Wild Bunch, Fabula, Why Not Productions, Bliss Media, Endemol Shine Studios, Protozoa. Duration. 1hr 35mins. Cert. 15.


A moment changes the World

You are in for an engrossing watch through the dramatic performances and palpable tensions over an event which will last long in the memory of the Political and Social history of America. The 1963 assassination of John Fitzgerald Kennedy.  He was artly responsible for setting the foundation stones of modern America which were laid by a unity of purpose naively set up on the false hopes of the ‘All American dream‘ and even proposing – in a space race with the then USSR – landing a man on the moon. Most of America was fed through the very new media of TV and infinity of lifestyle magazines from Life to Playboy.  GQ would come later and in the Trump towers supermo’s office he has framed covers of Playboy and GQ featuring DT and with this film opening in the U.K. on Friday 20 January on the inauguration of the New President of the United States it is Donald Trumps turn to shape the USA dream or sign its death nail.

The blurb on the film is After her husband’s assassination, Jackie Kennedy’s (Natalie Portman) world is completely shattered. Traumatized and reeling with grief, over the course of the next week she must confront the unimaginable: consoling their two young children, vacating the home she painstakingly restored, and planning her husband’s funeral.  Jackie quickly realizes that the next seven days will determine how history will define her husband’s legacy – and how she herself will be remembered. Chilean director Pablo Larraín (Tony Manero, No) plunges us into the devastation using a series of finely crafted flashbacks that cover the fateful day in Dallas, Jackie’s return to the White House, arrangements for the President’s funeral, and her time spent accompanying her husband’s coffin to Arlington Cemetery.  

The role came to Portman through Darren Aronofsky, who directed her in Black Swan, for which she won an Oscar in 2011. He shepherded Noah Oppenheim’s script of Jackie for a number of years. Meanwhile, Larrain’s star was rising beyond Chile, in films largely about his home country’s history (No, The Club, Neruda). The Club won a prize at the Berlinale in 2015.  Sydney Morning Herald.


Performances to celebrate

It is a very tightly crafted film, very much keeping its focus on the psyche of Jackie Kennedy in a short period and time of immense change.  With all seeming to be heading sweetly for JFK heading into a second term, this was a joyous time and full of hope but is cruelly shattered in seconds.  The script is chillingly absent of sentiment, ideology, lecture or incidental fill.  It has a welcome electrifying directness giving insight to the persons at the heart of the event.  The conversations and efficiency of words infiltrate the mood swings and juxtapositions, allowing fractious clashes to ignite believably while personalities vie to capture their own space in the story.  The likes of the senior clerical Priest, Father Richard McSorley, played with assurity and gravitas by John Hurt, who is asked by Jackie to conduct the Funeral, is a fatherly figure with a breadth of intuative and needed kind wisdom, which he delivers in a long conversation with Jackie as they survey the landscape prior to the Funeral. The suggestion Jackie has a conversation with Father McSorley is not simply him seeking her approval of the arrangements but to have her unburden the thoughts he is aware she will not release. That in itself is a vivid illumination of the key central characters and the complexity of this world shattering event. Richard E.Grant is also wholly convincing as the ‘Master of Ceremonies’ in the White House, William Walton, anticipating and conflicted by the choices of Jackie in the now decorous White House she has recently restored and transformed into a ‘peoples’ house yet extravagance is not exiled.  The chairs once used by the Lincolns are retrieved from the English aristocrat family who obtained them. Peter Sarsgaard is tremendous as Bobby Kennedy.  He has the unfortunate job of burying a brother and looking after a widow both in grief. He is fragile and has black secrets. Bobby acted a lot of the time to keep the private side of his brother hidden while he also plays someone who deals with a wife who was aware of her husbands infidelity and mixing with the wrong folk.

Jackie asks

Jacqueline (Lee Bouvier Kennedy), (“Jackie”) 1929–94, wife of John F. Kennedy (1953–63) and Aristotle Onassis (1968–75).

What happened? Who done it? the questions on the free worlds mind in 1963 when JFK, Jack Kennedy is assassinated.  It is not often mentioned but the Cold War was in people’s minds so the USSR would not only have eyes on it, they could – though we’re never cited – as possible assassins.  The immediate aftermath is the focus of this story as seen through the eyes of the highly traumatised and troubled Jackie Lee Bouvier, the widow with two small children, Caroline and John.  The world is watching and she is in a state of Post traumatic shock with few medics to help and just the White House entourage to relate to.  No one is close to her except Bobby Kennedy and her aide de camp, the lady in waiting type, Greta Gerwig whose guidance is both practical and humane.  She for instance tells Jackie how to tell the children, in the whirlwind of thought she offers clarity. It is a stellar performance on  Greta Gerwig’s part too.  Towering as she does, over the small grieving woman Jackie/Natalie whose only friend is her. Others to note if only for their presence excepting JFK are  Caspar Phillipson as John F. Kennedy himself, John Carroll Lynch as President Lyndon B. Johnson, Julie Judd as Ethel Kennedy, Brody and Aiden Weinberg as John F. Kennedy Jr., Mathilde Ripley as Jean Kennedy Smith all lurking in the wallpaper of the White House.  When HBO first conceived of the idea along with Darren Aronofsky, around 2010, it was envisaged it would be a four part mini-series, then word got about and grander plans were put together.  While it ‘rested’ at times it eventually gathered the full engagement of LD Entertainment and Wild Bunch with Darren Aronofsky at the helm if not the Directors chair.


The White House

The CBS TV black and White tour fixes us back in the day through contemporary and modern interplay of the actual footage and inserts for the actors which is in grainy b/w and the sound is raw.  Even watching black and white TVs dotted around and particularly one in a g-plan cabinet contrasting with the French decorous style of Jackie contrast and realise the era.  In the Presidens office there are many old maritime portraits of ships with masts contrasting with the decorated heros marine past. Alongside these the massive portrait of Bison and Bison (so singular an animal it retains the name unaltered on plural!) on stampede.  The Oval Office is late in receiving its bold red circular carpet.  The whole replication of the White House interiors was carroed out on the Paris studios. The sound is delicately adjusted from the b/w footage back to a smooth dialogue, say of Billy Crudup and the footage is also integrated extremely well with it having apparently been shot on 35mm film.  I had an issue with the choice of music and while it was not maudlin it was at times irritatingly harsh and unnecessarily present.

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The American Route map to success.

The opening of the film begins on the Presidential plane with the entourage, the full works, preparing to land in Texas to go on that fateful journey into Dallas.  It is visceral expectation of her home state reunion and celebration of JFK having gotten to the White House and this stellar couple being examples of the American dream realised in a form of success matched by smartness and anticipation of a better future.  TV is the elephant in the room.  The intervention and prime inventor of those dreams.  The elephant in the room being the thought – you think you had and you sitting on the back as it’s pilot as it takes you where you think you intended to go – except the elephant is doing all the driving.  As with La La Land all is colour and CinemaScope.  The TV though is still black and white.  The arc of the film is the Life series of interviews and in this immediate period, with use of flashback and CBS footage of a White House tour – a key widening view of the hidden inner workings of the White House – the Life Magazine interview which is carried out by in Massachusetts after the event; only a week actually, with – ‘The journalist’ Billy Crudup  – as end credits have it.  It is of course the Theodore White interview which Jackie Kennedy sought and demanded total control over as she did with the State Funeral which went global in its TV and cinema showing of its extraordinary homage to a leader.


Life (other magazines Time, GQ are available)

Theodore White turns up at her remote lakeside home in Massachusetts at Hygennis Port in a timber colonial style high ceilinged mansion.  The brusque cautious greeting of Jackie is a trigger of thought and disclosure setting the tone and delivering a new way of journalistic intrusion.  Albeit a forthright discussion and serious interview, it is through the personality of Theodore White – whose loose collar and tie belie his penetrative technique – which loosens Jackie tongue and the core innermost telling emotions inside Jackies mind pour out easily.  His technique is simply using a notepad and pen, and his manner is stoic, serious and non judgemental, being notionally slightly deferential although he does not allow Jackie to get away from his inquisitive delving by upsetting her.  He is instead the astute and independent author of her words. Being agreeable is a ploy he will have used many times as a seasoned journalist knowing the thirst for this story and it’s massive trajectory in print. It will be her story, he tells her, as she ruminates over this slackening of the pressures post funeral  and of the historical marker she laid down.  “What I think of history?  Does that make it true?”  Her own struggling with the facts and perceptions. The truth of the assassination is always under the surface. For Natalie Portman  she had the stories to go to as the part was researched by reading the interviews, Her primary source was the seven-part eight-and-a-half-hour Life magazine interview conducted in the early part of 1964 by Arthur M. Schlesinger Jr. with Kennedy. One of three interviews she gave following her husband’s assassination, it was kept private throughout her life – so wiki tells me!

More insights to the way it evolved as a film are interestingly revealed on wiki and this is in a four year period which began with Racheal Weisz in the ‘titular’ part it goes on to – May 2015, Portman was confirmed to star in the film.  That same month, Chilean Director Pablo Larraín was hired having been approached by Darren Aronofsky to direct the film with Aronofsky subsequently working as a piloting producer.

    

Conspiracies aside.

The fact is this film does not dwell on the conspiracy theories or the killer(s) Ruby killing, the alleged assassin Oswald and it is intensely about the choices made in the immediate aftermath.  Natalie Portman is extraordinarily convincing in portraying a vulnerable fragile diminutive wife whose world is shattered and all known compasses are lost.  Portman was working on another film – Planetarium, with Lily-Rose Depp – during pre-production of Jackie in Paris. She prepares in depth for any role, but this one did not allow much time. She read everything she could find and studied footage of Jackie, especially her distinctive voice: silky, patrician and breathy, with touches of Long Island, where Portman spent part of her own childhood. That voice is a huge part of the performance.  Sydney Morning Herald. The strength Natalie Portman portrays, definitely Oscar worthy, is as if she is pulling her up, Jackie up and out of this extraordinary maelstrom event and is breathtaking through its simplicity and nuanced magnificently with subtlety and vocally with gesture, inflection and cadence.  From her adjusting her attire, make up, hair, and walking routine, for the outside world to her rehearsal and rehearsal of the tasks ahead with her lady in waiting, it becomes a legendary performance in itself.

 

Legacy for who?

The Life magazine and TV background of the aftermath is the question Jackie places centrally, concerning the public spectacle and projection of the legacy of her husband. The legacy is prime. She does all she can to make the cavalcade match the Lincoln funereal despite their legacies being poles apart.  With the help of Bobby Kennedy and Nancy Tuckerman, the lady in waiting, in a whirl wind she commands strength and the understandable flaky persona we have insight to, mainly due to the PTSD (as is our probable likely post-overview) which conceals an inner trauma with a sense of self she is continually framing the world view of both herself and Jack John Kennedy.  She and the Life magazine interviews which she retrieves partially – it is the widows prerogative exercised – as she is prepared to deny the journalists writing of it if need be.  This is clear to Theodore White in the journalists role and one he is prepared for.  It is too revealing so soon after the assassination she takes steps to reframe things.  In any event or so it is believed the truth may be revealed in time, however it never has been.


Conclusion ####4

In terms of reality, Jackie herself proclaims it very well, as she knows having been a Presidents wife, Public perception is often far from the truth, the managed truth.  She is at ease declaring the story is servant to the legacy.  The truth is another matter entirely.  The interview which works extremely well as the central plank of the film, is as though the legacy is assured as the fulfilment of what she wished for in terms of the funeral statelike removal of JFK was in itself testimony to the woman’s will and strength. This interview is a tail piece of extraordinary insight and it’s legacy is also hers.  Nancy Tuckerman, the splendidly relaxed and grounded Greta Gerwig is seen remaining and apart, left alone at the White House when Jackie leaves.  Don’t let it be forgot.  The words of Camelot. The invincibibility of the Camelot musical beloved of JFK who played the song, Victrola, as a refreshment after a hard day’s grind, is recalled by Jackie but she’s conscious there will be new presidents but there will never be another Camelot. On the page and of it darkness has its many shades.  The day today is just the first. A remarkable and very touching biographical memoir in a historically vexing film. While many will not be interested in the historical perspective it is a very touching story of how grief of any kind sends new priorities and shapes things so differently going forward.  It as a film asks more questions and is very contrasting for the current inauguration of a world leader going ahead right now.

       
John Graham

19 January 2017

Belfast
On at Queens Film Theatre Belfast from 20 January through to 2 February 2017.  And on wide General release.

What’s not on General release is the ‘road movie’ a political thriller of 104mins. 2016. by Pablo Larrain

Neruda


It’s 1948 and the Cold War has reached Chile. In congress, Senator Pablo Neruda (Luis Gnecco) accuses the government of betraying the Communist Party and is swiftly impeached by President Gonzalez Videla (Alfredo Castro). Police Prefect Oscar Peluchonneau (Gael Garcia Bernal) is assigned to arrest the poet. Neruda tries to flee the country with his wife, the painter Delia del Carril (Mercedes Morán), but they are forced into hiding. Inspired by the dramatic events of his new life as a fugitive, Neruda writes his epic collection of poems, Canto General. Meanwhile, in Europe, the legend of the poet hounded by the policeman grows, and artists led by Pablo Picasso clamor for Neruda’s freedom. Neruda, however, sees this struggle with his nemesis Peluchonneau as an opportunity to reinvent himself. In this story of a persecuted poet and his implacable adversary, Neruda recognizes his own heroic possibilities: a chance to become both a symbol for liberty and a literary legend.

From the fibula.cl website where you can also see trailers of other films by Pablo Larrain like Fugue.
La Casa Films logo is so good I have to show it! 

The range of Cinema in Chile is astoundingly captivating.

Fires were Started : A Film Review

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The complete Humphrey Jennings disc two. Fire were Started. 1943. Documentary. 

35m Director Humphrey Jennings
Production Company Crown Film Unit
Producer Ian Dalrymple
Script Humphrey Jennings
Story Collaboration Maurice Richardson
Photography C.M. Pennington-Richards
Cast: Commanding Officer George Gravett (Sub-Officer Dykes); Leading Fireman Philip Wilson-Dickson (Section Officer Walters); Leading Fireman Fred Griffiths (Johnny Daniels); Leading Fireman Loris Rey (‘Colonel’ J. Rumbold); Fireman Johnny Houghton (S.H. ‘Jacko’ Jackson)

The Blitz depicted

War on Britain some 75 years on from the blitz – the frequent and widespread bombing of cities, ports, towns, strategic infrastructure by German War planes – is catalogued in documentary form by the rereleased BFI film Fires were Started.

7 September 1940 saw the first bombardment in the London docks.  That place before the war the vital trade port for the United Kingdom and now dispersed but still a joyous sight and feature of humanity converting itself to other things in peacetime.  The Olympic Park for example.  This 1943 film was also known as I was a Fireman. Because of the war continuing and various attempts at capturing the times not just in newsreels or cinema propaganda stoic bravado their were people conscious of the individual moments which put the fear of God into people not on the frontline.                             The frontline was brought to them.

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Mass-Observation

As a documentary maker Humphrey Jennings was a very driven man.  As the upper middle class background gave him a sense of entitlement, and took it upon himself to forge allegiance with anthropologist Tom Harrison a group known as Mass-Observation in 1935.  For whatever reason he never went to war andcinstead became an academic and some say dilettante not realising the ‘whatever’ wheels and cogs making Britain tick.  It’s industrial health. An irony surely exists in their organisation. When it came to expression, beyond writing, painting, he got to know the power of film and embarked on experimentation even dabbling in surrealism.

Making the film

Fires were Started is a bizarre title in itself.  A meaning existing, they deliberately in 1943 started fires to represent 1940 scenes. London can take it was a 1940 film of his along with Listen to Britain. 1943. Even after the film considered herechecdeveloped a by now perceptive forward thinking imaginative underrated work called Diary for Timothy 1945 wondering what future lay ahead.  This profound piece and idea is often discovered in Newspapers or novels of the time in prospective articles etc. but applying thoughts on the future on film must be and remain unique. Actors were given scripts to follow in this documentary therefore subverting the form to begin with.  This was not done to sway the argument or construct falsehoods but became necessary because setting up in the midst of war, using people to take part in recently gathered history, finding film stock, finding time and locations etc. would have been a burden to anyone.  What was that film Martin Scorsese did in London docklands ‘recreatively’ and costing a forrtune equal to the war debt? Jennings also employed another dynamic of realism and avoided commentary.  This in itself must have had contemporaries have hairs stand up on the back of their neck and that includes the war time children.  I remember watching war ‘documentary’ as a youngster and have a spine tingling moment or two.  On reflection I was assuming perhaps the clowns with guns and bombs outside in the street dictating what way our lives should be in the sevenitites were no different from these warlords except the men who went to war as well as being conscripted went in the most part willingly.

This film blog is included as a remembrance, not a commemoration or as celebratory homage to the losses in all conflicts around the world.  This 11 November 2016 is again a time to reflect on violence applied in all its forms.

 

John Graham

11 November 2016

Belfast

Apologies for not providing a blog on the intended review (Gimme danger which is on at QFT Belfast from Friday – also note the epic Napoleon is screening from 12.00am at QFT this Sunday.) It is somewhere in the ether and I’m still trying to track it down as it’s for the most part written on a rock chronicles type film. I will post of and when it turns up as it raised quite a lot of things. Take for instance this weeks Democrat/Republican Election in the USA which you may have heard of. Michigan were Jim Ostenberg (Iggy Pop) hails from which Gimme Danger is all about actually stands aside only one other state in America, New Hampshire in it not having inclusion in the normal electoral form used everywhere else. Being the radical state it once was – I point this out as a distinction worth exploring in the psyche of this American Iggy – it resembles the election format of GB more! A lady who watched the Election on a Portuguese channel to improve her Portuguese told me this oddity.

Sonita : A Film Review



Director
: Rokhsareh Ghaemmaghami. Cast: Sonita Alizadeh, Rokhsareh Ghaemmaghami and further members of the family and the organisations supporting her.  Wasatch Academy. Utah. Genre.  Art House & International, Documentary , Musical & Performing Arts. Written by: Rokhsareh Ghaemmaghami. Duration: 90 minutes. Cert. PG. Subtitled.


A real life story told differently.

This film, set in Tehran, Iran, Herat, Afghanistan, and Utah, America, is creatively astonishing and alarming as well as delivering to a wider audience the issue of the still practiced female subjugation in the form of, mainly child forced marriage in Afghanistan still manifest and unlike Iran un-evolved.  It is the story of Sonita Alizadeh, a young Afghan girl whose overflowing gifts of performance art, drama, singing, songwriting, theatre design for a fifteen year old whose creative world is driven (and you may wonder the magnitude of her gifts outside this) by the politics and plight she finds herself in.  Spanning broadly, 2014 to 2015, filmmaker Rokhsareh Ghaemmaghami turns this story into a crossover of documentary drama having found Sonitas story, presumably via. the social media, SoundCloud, or whatever platform her main song met the world audience in which it is acclaimed as being a breakthrough rap song of immense clarity, succinct hard hitting lyrics.  How Rokhsareh was drawn to it doesn’t really matter but it presents for us the form which is sometimes viewed as staged, rehearsed, eavesdropping in the family situation Sonita is locked into.  

Here is a review sentence from the FT which quite rightly draws attention to the fine line documentary makers – for this is the onlay genre the makers wish to push the film, its in my mind a format which genuinely takes in theatrical performance and sublimely, if that’s not too pejorative – taking care to deal sensitively with the very harsh subject.  The view stated was FTGhaemmaghami’s various, blatant interventions in Alizadeh’s life (shooting and posting a video to one of Sonita’s songs that went viral, negotiating her passports and visas) probably broke every documentary-making code. 

It definitely crosses the line, I’ll agree. Backtrack it with the song Crossing the line Yamasata Winwood and Shrieve.  Long gone tune which expresses lots of things.


Sonita a refugee

Sonitas life is within a Tehran charity called The Society for the Protection of Working … (and nowhere can I find a link – yet OMID is a similar but women not child based charity) run by an Iranian woman, herself an irrepressible honest broker with vision whose wisdom allows access to Sonita who is after all under her guardianship, so no small element.  It is a place where, with due respect and local cultural deference she is, within the building they are housed; a free person, allowed to move around the city as an ordinary citizen, and able to mix with other girls her own age. We see through the vision of this refugee workers insightful management of what is an emotionally damaging situation – separation from her family, no papers to establish her identity formally, no proper education, no role or life management – what in fact is The Society’s purpose is to provide life skills to a girl entering womanhood.  The charity delivers hope to all the children in its care, not alone Sonita.


The cloud she’s moves underneath from.

By telling the story from an initial school based situation the parameters are defined.  Rokhsareh Ghaemmaghami takes the role of an interviewer and asks Sonita as she beds down in a small sparse room on which she has a scattering of posters including one artist whose reception in Manchester this week was such that it’s overwhelming volume near hyseria had —-! leave the stage as it was impossible in their eyes to perform normally.  The next night in Birmingham was more constrained and both concerts showed the pinnacle of musical status her looked into in Tehran as an impossible dream. 

The questions are about her situation and Sonita keeps a private art diary/notebook of ideas, expectations/ambitions/observations full of perceptive irony and fledgling artistic ability.  By probing away, advancing the narrative Rokhsareh Ghaemmaghami is delivering a deep involving complex picture of the background Sonita comes from and the central issue. Sonita has come from a now relatively – and that is only notional – safe environment of Herat after Taliban conflict she has not seen her mother for six or seven years.  Her father has died.  Father was old and mother was young as she shows Rokhsareh a family photo.  She tells of her Dad marrying a young bride, her Mum obviously and this is what is expected of her.  A marriage to be arranged which her mother shall sell her, and to someone of twenty years senior has already been put forward, for around $9,000 which may even be as little as $3,000 given her current exile status.  If she were to leave Tehran she would not be able to return.  To establish her identity properly she would have to return to Herat to authenticate her passport application no longer making her a refugee.  Another twist of passports is that Iran will accept all passports except American ones as valid.  The whole scenario is as complex as it sounds and in the film is shown though the sequencing, directorial clarity brought through the surreal depictions, ‘flashbacks’ cleverly linerally delivered by the astute Director and with I would imagine the input of Sonita and the primary ‘actors’.

 Identity 
Conventions of Female Subjigation

The pressures of being subject to a course of action out of her control and being manipulated from afar – it is the families ‘proposal’ back in Herat – along with a brother who appears not on the very fringes of this film, exherts pressure on Sonita to acquiesce to this child marriage for the sake of the family.  Beyond the immorality of the sale as is tradition in Afghanistan, not Iran, by being sold for so many dollars, – the figures of the film take on a life of their own – $9,000 say – it would allow her brother to then buy a bride in turn.  This trap is only a peculiarity and the number of girls in a family allow the Male dominated society to perpetuate the sale of daughters for such sums of money which amounts to the same as sheep or cows being sold and hence a basis of livelihoods.  It is this Sonita is highly charged about centrally, no surprise there then, and is what is behind Rokhsareh Ghaemmaghami’s diligence in making this risky politically charged exposure of a specific family situation.  It brings plenty of risk which strangely and perhaps inevitably she has been able to convince various members of the family, especially Mother to participate and ‘act’ out their roles under her direction in order to project the story.  Several scenes are clearly rehearsed and not spontaneous as is the prospectus.

  An uncannily similar image appears film and Goya speaks!
Going viral

The songs are put together through a series of encounters which managed or unmanaged bring out the darkly striking rap song Brides for Sale which went viral.  The accompanying video and the interspersed additions of work take this film beyond any perceptions of transgression or willful interference.  It is an act in need of sustenance, established accord, and wide, very wide exposure which Rokhsareh Ghaemmaghami has employed in the past.  She knows exactly what she is doing/has done and far from clouding the boundaries with irrevance of orginisational finger pointing she uses the art of film making to create in itself a poignant emotionally complex drama theatrical performance piece establishing Sonitas art.  Her art happens to explore her hardship and like many who cannot get to express their hardship in any shape or form Sonita charges ito also fully aware of the boundaries and is so imaginatively advancd as to grasp it for those who cannot.  The rappers in Chicago, Hidden China, Remorseless India, Battered Britain, Bombarded Palestine and many other exploited, suppressed regions share the same humanity as all of us but cannot express it.  Even such as Pussy Riot, Malala, The Idol, Deephan along with recent films are centrally political and important.


Conclusion ####4.

As the play’s of Shakespeare, the traditions of No theatre, the Morality plays Film again takes over the wider view of intensely important visulisation of ourselves in our times – since the invention of Film! Cast as a documentary to all platforms, Sonita evolves with magnetic, crushing, compelling engagement.  It is impossible to avert your eyes or shift your mind to blank out the at times surreal, avant garden polemic foisted on you rewardingly by Rokhsareh Ghaemmaghami and Sonita Alizadeh whose life is at the centre.  Oblivious as most of us are to the extraordinary desparate conditions of culture inflicting subjegation on extensively, women.  We are present among our own preoccupations and prejudices and on a much reduced level – though clearly many women at the heart of a crisis rightly would disagree – in the so caled developed world.  The thrust of daily live often places compromises in front of us but we need to be aware of the ramifications of indulged political parameters and speak out against them.  Sonita provides documentary, wide vision and self awareness seldom seen in any other locatity enormously assisting those in the front line of argument to fight these outrages.  By having groups of allies outside who can support their fight is how it can advance change.  This film is a nucleus for change among many.  It is deeply entrenched in the goodness seen portrayed under ridiculous circumstances and delivered to our view by its many contributors including Grandma Alizadeh whose tentative but knowingly astute presence lever’s up an other plank from the rocky road.  

John Graham

27 October 2016

Belfast

On at Queens Film Theatre Belfast from Friday 28 October through to Thursday 3 November 2016.

I, Daniel Blake : A Film Review


Director, Ken Loach, Screenplay, Paul Laverty.  Cast. Dave Johns, Hayley Squires, Dylan McKiernan, Briana Shann, Kate Rutter, Sharon Percy, Kema Sikazwe. (English dialogue) Duration. 1hr 40mins. Camera (color), Robbie Ryan; editor, Jonathan Morris; music, George Fenton; production designers, Fergus Clegg, Linda Wilson; costume designer, Joanne Slater; sound (Dolby Digital), Ray Beckett; sound editor, Kevin Brazier; line producer, Eimhear McMahon; casting, Kahleen Crawford. Production. U.K.- (France-Belgium) A Le Pacte (in France) release of a Sixteen Films, Why Not Prods., Wild Bunch (Rebecca O’Brien), BFI, BBC Films, Les Films du Fleuve, France 2 Cinéma, Canal Plus, France Télévisions, Le Pacte, Cinéart, Ciné Plus, VOO and Be tv production. 

  #WeAreAllDanielBlake

Side by side not taking sides

If you want to avoid a politcally charged piece based around the outrages perpetuated our name in Great Britain and Northern Ireand, on which this film has attempted in its narrow focus to show then I suggest you go to the bottom of the review and the conclusion instead of wading through the politics.  I find people’s perceptions of the politics intruiging and repulsive from the so-called support mechanism of handouts on legal advice and support through the class orientated Legal system – access to justice and the like pure fantasy and peripheral – other ‘agencies’ – charity wars where they are in High Streets ‘chugging’ being unpleasant in a face frame as you pass, to handing out supermarket disposals at food banks then you can get a bit distraught and ashamed.  So move on.

Moving on the story

This journey is a script opening eyes to actors then audiences.  Research needs dictate the timeline for this compressed schedules so the assembled team can come together very quickly, in three months after the get go, finances in place – France is the main arena to show it.  It opens in about 600 screens in France and about 100 in GB/NI.  This story is discovered in so many places it shocks producer Rebecca O’Brien and the outlet, outcome will come touch so many who no the story at some level. Loaches way of working is to shoot in sequence then give script pages say a few days in advance if some scenes need ‘discovery’ let down gently so the performance evolves more naturally.  So actors have the most explained scripted but are taken on a journey also.


Foreign fields in our country

In the early summer at the end of May the European Cinema community meeting once again in Cannes expressed their acclaim of this Ken Loach film.  It should be mentioned the screenplay delivered by Paul Laverty is exceptional and their combined skills, talent have created a very clear depiction of the atrocious Department for Work and Pensionsxorganised abuse of human rights and morality.  Here is a report in May announcing the Ken Loach acclaim action in Cannes.

Last week there was an article in The Guardian about how Labour candidates in the last elections were like “middle class Ryanair passengers,” trying to suppress their metropolitan squeamishness while canvassing in traditional Labour areas.

The voters on the doorsteps said of the politicians: “You’re all the same” – by which they meant: “You’re nothing like me”. 

On the same day, it was reported that Ken Loach, nearing his 80th birthday, had just won prestigious Palme d’Or at Cannes for I, Daniel Blake, a film about life on benefits.

This is great news for the makers of this thoroughly decent but very straightforward portrait of the film maker, which looks back over his career, while showing him making that very film. 

Proper Society demands

I am finding this film very hard to review as having now seen it twice can attest to its fiercely upsetting and concerning depiction of Britain – the United Kingdom – that is shown to have a rejection by proxy of large sections of vulnerable and virtually starving people trammeled by Government punitive Social Security actions.  Based on the Public Health. act they distort and reject basic human right principles of social provision for those in need of welfare assistance and breach the rights to privacy as attested by the system shown for all its harmful effect in this film.  Seeing it twice produced the view – seeing it twice assured me it was in fact a work of fiction though it may well have been a documentary of validity and authenticity given its flawless careful handling of a large societal picture which is treated like a soiled limited section of the support system people believe – wrongly – is a safety net.  


The depraved reformers

A local spokesperson for these Social Security ‘Welfare Reforms’ Dr Eileen Evason, who has been an advisor over many years to the Social Services Committee, adding insult to injury over the period appeasing and making noises on/off about possibly unworkability, while failing to solve the problems put up by the Social Security Committee, grandly attests that ‘she’ has advised the First Minister and Deputy First Minister ‘she’ has copper fastened the bottom of the safety net in the latest measures of ‘Welfare Reform’ – which are a removal of further support and diminution of Social Security – in every sense of the word and are as much an insidious harmful assault on people disadvantaged in numerous ways accessing Welfare.  

Reforms are the further rejection of people’s rights and betrayal of the Welfare Society on which our whole ‘sovereign’ entitlement has affirmed through the Public Health Act. It is how our civility has been established.  I could cite several Laws which are breached, among them the provision of emergency and hardship funds which are ‘means tested’ in becoming a claimant.  Worse still is the treatment of Asylum seekers, Refugees and some Immigrants and their diminished rights of access to shelter and the means financially to live in a dignified and civilised way which basically all consider alienating and intensly degradng on purpose by design by the Home Office.  They maintain their dignity as a measure of contrast to those who subjugate them, the depraved reformers. The Attorney General fails to find fault here while he contests the liberty of cakes and rights for access to criminal files by victims and has expressed his views on gay marriage, abortion and sexual prostitution practices.  Human trafficking and Healthcare deficiencies along with long term mental health problems cramming prisons with TV licence evaders, avoiding the rackettering going in also in drugs, property scams and theft from trammeled owners is left to one side when it comes to enforcement of legalities.

Subjugation 

The powerful in all generations beat down the populous in order to create a means to accumulate and amass, grow their fortunes.  Corporations now unleash the threat of ( now mostly seen off) suing Nations who transgress their Commercial practices by regulation – in contrast to other locations – as a means of finding lowest common denominator compliant States to carry out manufacturer and trade.  This is very much a part of the Political embrace, or the Corporations wrestling Governments into surrender by the throats into submission to their plans of work practices.  You may have noticed the floodgates having opened once Thathcher destroyed Manufacturing industries as the tooth nail and claws of overseas economic conditions took a nosedive and resurrected on a Conservative compliant employers agenda.  Followed by the breakneck catastrophic avoidance of needed market reforms when New Labour arose Phoenix like and adopted Neo-liberal economics which achieved what? Fairly evident. The Conservative backlash to the attempt at restructuring tax credits dealt with by the stop gap DWP minister Stephen Crabbe said there were to be no further cuts to Welfare.  What remains however are economic measures creating hardship not alleviating it as is the Conservativve way.  There remains no link to prices in terms of Benefits so any inflation will diminish their value.  The zero inflation likewise meant the adjustments needed were never going to reduce the vulnerability of very low ‘incomes’ never realistically matching survival needs as is clear from social deprivations the length and breadth of the islands.


Both Governments actually banned Ken Loach films which now find themselves on the right side of history.  Some elements (Wind that Shakes the Barley excluded as it was so naive in my view) relate to policies implemented in Northern Ireland which were volatile exposures of criminality of criminal proportions.  In NI film is pronounced ‘filim’ which also connects to the spooks Le Carre points to as finding legitimacy when the ‘sovereign cause’ was imperilled in the Northern Ireland troubles.  We have an o added to NI giving us the Northern Ireland Office and the begetters of many a violent consequence.  Ministers in Government/Assembly rather like the idea the truth is left concealed as to the real savage brutality of regimes acting out their power lust here. It suits their criminal acts and duplicity/double agent positions and hides their joint enterprise efforts of concealment.  The Blair contention he was responsible for healing the process is another myth.  George Mitchell if anyone, alongside wise counsel from Mary Robinson and others not up to their necks in corrupt dealings, stroke parties are the real authors along with the law abiding populous in creating peace.


Katie and Dan, Daisy and Dylan.
Mercy doesn’t come into it.  This film is harrowing and the awareness of both Ken Loach, in putting this account of a shifting period in our history, when the further effects of the 99% globally daily inflict greater influence and harm in the shaping of our society is coruscating and baleful.  It is like watching cities, generations, turned into enumerated sub-Orwellian dehumanised robots functioning to extract as much value from commodities goods and services as is mechanistic ally possible.  The machine age where those owning the power of process from land to building to healthcare extract more than they contribute along an economic symmetry, uniformity which is destroying the planet and its inhabitants.  More and more obvious by the passing years.

Katie, Dan, Dylan and Daisy come to the crest of a hill in a wide street shot, with Dylan acting up and playing on the relatively quiet suburban road.  I saw this as a pivotal point and it’s not a spoiler to be discussing it.  In ‘films’ about the making of this movie I have seen the set up being discussed as Loach and others converge to discuss and KL inevitably calls the shots!  This is where things look to be on the improve.  As you will have likely read the coming together of these people is through their treatment at the hands of the state.  ‘JobCentrePlus’ Newcastle.  After two years in a hostel in London after having lost a rented private flat (note here KL chooses the scenario to point up the lack of council, local authority built homes) through a minor complaint, they are doing separate things in the Job Centre and after another knock back Dan and most in the centre hear raised voices as a stressed Katie faces a knock back which will see her with no money for food or electricity.  Despite the condition, which has Daniel there in the first place, Dan intervenes ad sticks up for her in a scene which is being controlled by unreasonable overstretched staff.  They cannot be seen in their ‘role play’ to move one inch from the rules and agenda.  They are complicit and compliant nevertheless.  It does nothing to resolve the situation as the staff always control the situation by assertion.  By the passive aggressive violence of their inhuman interaction. Ca particularly abhorrent version of which is displayed your a thirty something floor manager whose bulk and belligerence is like a blank wall purposely.  In local offices it is just the same with blank walls and uniforms, badged floor staff acting like prison guards and traffic police.  Entirely designed as intimidatory and just as Latie and Dan find.  The children have to witness this humiliation also. Being so young they will have in futurectimesxstrong memories of this imprint of society they were brought up in.  

Dan cannot separate himself from this encounter given he is like them in the same sinking stinking boat.  Refugees in their own country.  Like anyone of any worth he helps and so Katie is given some hope and he sets about turning around the house she has been given.  It is barely habitable and lacks most things.  Beds, table and chairs excepted. The London policy of shifting out trouble families, single parents in their estimation a problem, all three have to detach themselves from their roots and go to Geordie land where they have no connections.  It is a form of cultural amputation loosing friends and family and all support. It might be regarded as like students, new job prospects – you move to a good job with arrangements for xyz prepared but here it is a complete nightmare and extremely low levels of support and even means to live and with few ‘possessions’ in tow or even storage.  It’s what middle class England voted/votes for and every aspect has implications undreamt of or excluded from the mind by the latest offer of the Sunday roast lunch at the supermarket.  Delivery can be arranged.  The carefully managed tiers of commercial life teased out into jumbo size excuses for lifestyle choices seen and tantalisingly mirrored back at expectations by the political manipulators governing.

  A town anywhere

The Foodbank

A minister recently reflected on Coffee shops – his observation continues into other places restaurants, shops, bars – that they install pews from disused and happy flappy churches who think nothing of ripping out the seats and bare bulbs, rusting grid lamp covers, galvanised mini buckets, boards as platters evoking a back to basics – unafraid of the distressed plate the sirloin steak sits on along both the rustic chips.  When Katie, Dan, Daisy and Dylan are at the crest f that hill they are heading to that phenonomen – the ‘Church’ led charity group – government authenticated – Foodbank.  There are a startling number in most major towns. Our four come to the ‘Church’ Foodbank and are greeted by an enormous queue of everyday folk standing chatting in orderly fashion. The experience inside is something which cuts to your core for many conflicting reasons.  Everyone is doing their best to alleviate the need for people to collect food to survive on top of their ‘income support’ IS ‘wages’ Workers support ‘Jobseeker’s Allowance’ JSA ‘Employment and support Allownce’ ESA and some on ‘Personal Independant Support Allowance’ PIPS. and each person has a Doctors, MPs, Social Security, Police, referral form stipulating they are likely to benefit from Food Aid.  Here in Belfast there is a Foodbank reached by four flights of stairs down a ammonia smelling lane way and with a lift (out of order?).  It is somewhere only the relatively fit and able can access , elderly and those unable to travel back and forth arriving what they get over long distances cannot avail of the meagre provisions.  There are very limited alternatives and despite this numerous deaths on the streets have occurred some not fifty yards away and destitution is hidden under trees and back lanes with an overhanging doorway or at the bac of arestiarant where the hot air comes through the vents.  In daytime in winter I have seen destitute backed up to a dry cleaners hot air discharge vent which is virtually as steam vent.  KL and PL could have continued to make numerous films on destitution and involving those of no status whatsoever who find themselves here but this should incinerate the lies of Poiticians on the relative wealth of this state’ should silence the complicit entrenched waged apologists – for creating a narrative – for having to enforce it – The Law Centre Northern Ireland is also in this category having played host to the doctrine and ignored all legal contexts of Human Rights in so doing.

Poverty of spirit

Acceptance of poverty is bound with having made sacrifice, poverty is nothing without some form of deprivation.  Imposed by others or oneself.  It is not a Christian renunciation – felt by some to to obtain an anti-worldly attitude – and it does not lead to the removal of social malaise but the opposite.  It is a pharisaical damaging concept for oneself.  It is especially clear in some religions as a belief in, confimation of the excecution of Gods will.  In addition to this how many could you name who hold this humility while themselves safe in the knowledge they shall not be impoverished.  The Church fulfills its aims while controlling the minds of the supplicants entreated in their role play.  Having wealth and holding it is primarily a function adopted in religions, nations and societies.  The use of wealth was intended in Gods world to create social fulfilment.  Be it the production of food, transport, education or health and caring it serves no purpose other than to create social purpose.  Manifestly detached from this is the vast accumulation of wealth which has neither function or form.  It is seen as a barrier against misfortune.  Calamity comes in many forms and natural disasters are common and reactions of an earth balancing its elemental fixed laws and structures disrupt many notions.  It has a randomness with which we consider the consequence of – act.

Humans relate to laws and instilled societal forms set in a familial almost fixed set of behaviour relying almost everyone ill defined and not of any real note or consequence.  It foresees a pattern and bonds.  In every moment expanding this is seen as obligatory.  Not so God will.  Telling the rich man if he wished to be perfect he should give to the poor is all that God willed.  So what might that  were made in the time of Constintine between the ruling establishment and the will of God – Christian values.  The progression though led to the diminution of those values and the application – routed in assumed power – hoarding and stifling distribution not based on supplying people’s legitimate means.  Social obligation is the key. Those keys are established through Marxism through Tolstoy, through continental mineral exploitation to create social and human fulfilment.  Where are we headed?


Conclusion #####5

We are thankful (once again) Paul Laverty for bringing forward a societal ill composed of State bureaucracy the malaise that is the UK Welfare system to a wide audience.  It opens on 21 October 2016 in 100 cinemas in The UK and 600 in France showing the depth of awareness films can have on societal issues. This is a compelling story of a man driven to the edge of his existence by bureaucracy and his life is shown with compassion and understanding by the filmmakers. He (Daniel) is joined in the aim to seek benefits by a young single parent, whose plight he finds when visiting the JobCentrePlus almost a confirmation of a conspiratorial system leaving people at the edge of their dignity and strength seeking the means to live a simple life and deal with their specific circumstances. Daniel is a figure summarising the breadth of the diminishing values and morality shrinking daily. With a condition denying him the health to work he is as a 59 year old required to apply for Benefits to sustain himself. He is advised by his GP and Consultant that he is unfit for work and applies for Employment and Support Allowance. Withstanding his Medical condition, confirmed by his physicians, he is compelled against his legal entitlement, to disclosing to a third party his health condition by statements in a q and a with a ‘Healthcare Professional’ (someone who has no responsibility for well being whatsoever and untrained in any medical analysis or part of any treatment plan) on the phone in a black void at the very beginning of the film.  It is a complete invasion of privacy by a third party and is itself a breach of Article 8 of The Human Rights Act,regarding privacy, going unrecognised by such as DWP, DSDNI, ATTORNEY GENERAL, DFC, LAW CENTRE NI, CAB, PATIENT AND CLIENT COUNCIL and the legislators in Parliament and an a priori defence for everyone in terms of its provision. 

It also is a breach of Client/Patient confidentiality as expressed in the General Medical Councils own codes (Hippocratic Oath) for confidentiality which the State by design subvert and disregard along with the apologists in a train behind them, the Citizens Advice Bureau, The Law Centre, the Social Affairs Committee, the Government Legal Services Department and The Attorney General for Northern Ireland who all refuse to acknowledge the a priori existence of these rights. So Daniel Blake represents the – again explained succinctly, more than my detailed account, – the sisyphean struggle – the task is endless and one of monumental endurance – eloquently described by Variety reviewer, OWEN GLEIBERMAN, on seeing it when it won the Palme d’Or. Wrote the following very insightful words in response – among others equally attesting the strength of the film – ” …it’s about something so much larger than bureaucratic cruelty (although it is very much about that). It captures a world — our world — in which the opportunity to thrive, or even just survive, is shrinking by the minute. With the right handling, the movie has a chance to connect with audiences as few Loach films ever have. It’s a work of scalding and moving relevance.”

When an outsider can see so clearly the desperation and degradation society is perpetuating it is a very clear warning.

Such is the picture of what plainly is a mirror of our divided, fractured, malfunctioning Government and Governance the case for a moral and just society is made all the more relevant and important by this films approach which is a dignified response to the perpetrators of the atrocious conditions they consider lawful and fair.  It is ruinous.
  
John Graham

20 October 2016

Belfast
On at Queens Film Theatre Belfast from 21 October until 3 November 2016 and at selected Cinemas up to 100 screens in the UK will be showing it while it starts on 600 screens in France who provided considerable backing.

Containment : A Film Review


Containment

Just this past week the Hinckley Point, Somerset, Nuclear reactor was given the go-ahead on behalf of the United Kingdom population, by Theresa May, Prime Minister, following a false standoff with Chinese and French providers since her elevation internally by a group of her party seeing her fit to govern us, a new found ability to take decisions. This is a decision which should never have been made to be taken. With the daily occurrence advances in battery technology and solar power retention and storage from that huge object we know as the Sun, it is within a very short time very likely we will individually at our homes or collective of homes have our own power stations. Nano transformation of energy which allied to similar advances in motive power shall also have an effect of reducing carbon output. Berlin is now a zero carbon city for example so where are the British in this revolution?

Documentary

Containment A Film made in 2015 by Directors, Peter Galston and Robb Moss. It is film documentary on Nuclear waste production and storage. The USA/Japan co-production brings forward the extent of Nuclear waste currently abroad in what is basically a state of deadly toxic limbo.

Getting to screen it.

Interested in bringing Containment to your community, conference, festival or campus? Share your details here at containmentmovie.com or email us (them!) at containment@filmsprout.org, and we’ll (they’ll!) be in touch right away!


Framework
The first frames show Fukishima and a woman walking alone seen by the cameraman/woman surveying the limbo state this empty city has become. It alone needs a containment scenario this film addresses elsewhere in the Art graphic animation discourse for a place in the USA. New Mexico. When did the first scenario arise?

It begins by pointing to the Cold war period after the second word war, when nuclear warheads were accumulated and agreements placed to disarm these weapons of destruction by putting them into vast radioactive ‘landfill’ sites comprising mainly a site in New Mexico whose irrational acceptance as a location for a nuclear waste dump defies logic. The terrain was chosen primarily because of its geological fingerprint. It was a location with a vast unique strata of salt which millennia had proven stable and a medium in which a frozen ‘time’ capsule could be maintained. It had the hallmarks of having the capacity of being an enevelope for storing the radioactive sludge. However the bunds and lagoons created on top of it were and still are reservoirs of storage for a hundred million gallons of toxic waste. This means of storage is but one part of the cycle which includes other non-associated methods which involve inward shipping of nuclear waste in vessels – carefully checked when transport protection is removed for leaks. Each vessel is thoroughly x-rayed for casing integrity. Watching the magic gieger-counter being waved by an operative circling each container begged the question had they replaced the batteries in it. From this part of the process it then went sub-strata via. a long passage of tunnels by vehicle to hopefully it’s final resting place and presumably back filled at some juncture. Other processes included pouring liquid nuclear waste via. robotic arms manually operated into glass containers. Giant Kindle jars of high tech composition presumably.


The only problem is they remain mostly in their last location since a shut-down after a freak accident when a material failure allowed leakage to occur from a container – it’s past x-Ray and scrutiny failing to identify ahead of time any possible flaws or defects – which in turn jeopardized operatives and future containment activities. The decision was to put the entire site under lockdown and begin a clean up operation estimated at the time to be in the region of $300 million dollars or was that billions? In any event nowhere on earth is capable of storing the material waste China America Middle Eastern and European countermoves have plans to accumulate never mind that already stockpiled and in state of transition limbo.


Deep concerns

The film is concerned with not only the accumulation as well as a key part the Fukushima meltdown catastrophe which we are shown in its raw elemental state as a no-go locality but with the figurative signaling beyond our times into periods frankly inconceivable, ten thousand years hence and multiplications thereof. The means of alerting ‘others’ unaware of the backstory our history are explored in real time exercise a of futurist projections. Cockamamie American pawn brokering is one way of describing it. Put it in as a trade and see if any idiot will buy it.


The film becomes cartoon depictions crudely fascinatingly naive ventures of our humanity expressed as a vent diagram and delineation of rogue versus alien versus well the ordinary Joe or Jane whose curiosity got the better of them. Pictorial semaphore signals as used by pirates might have easily substituted or maritime signals heralded by symmetry as unnatural presence of danger put in place by those previously occupying earth. Ie. Humans.


Other reviews.

How do you plan 10,000 years in advance? Containment asks whether we are adequately caring for future generations with current storage methods for radioactive waste. A visit to the nuclear ghost towns of Fukushima shows what will happen if we fail.

—Karl Mathiesen, The Guardian

Peter Galison and Robb Moss remind us of the lingering threat of radioactive waste. What to do with it? How can we warn people centuries in the future about the danger of waste disposal sites? With inventive animation and incisive reporting, Moss and Galison aren’t going to make it any easier to sleep at night.

—Peter Keough, The Boston Globe

The film…attempts to articulate the beautiful and complicated problem of how to render the future a part of the present. It offers glimpses of a future beyond our societal imagination…and goes beyond ordinary documentary filmmaking to bring forward this future image into the minds and sensibilities of its viewers. It is in attempting this communication with the audience beyond the here and now that the film has its greatest success.

—Zoe Jones, Spook Magazine

I admire Containment for its zealous questioning of a situation that is ignored, misunderstood, and obviously—thanks in part to this film—urgent. I’ve been thinking about 10,000 years from now ever since.

—Erin Trahan, WBUR’s The ARTery and The Independent Magazine

The way we tell stories about who we are, what we did and how we considered the consequences of our actions is moving and profound in Containment, told with investigative care, sadness, fury and poetry.

—Andrew Lattimer, heyuguys.com


Three titles making their world premieres at Full Frame garnered plenty of buzz…Containment, Peter Galison and Robb Moss’ latest documentary, also taps into another controversy magnet—nuclear power. The directing duo aren’t strangers to hot-button topics. Their 2008 Sundance hit Secrecy chronicled the massive efforts by the U.S. government to classify data from the general population. Containment, about the scientific, moral and philosophical problems that surround the disposition of nuclear waste, is sure to spark a national debate.

—Addie Morfoot, Variety

Alarmingly frank but refreshingly optimistic, Containment tells a great many inconvenient truths but its coda assures us that all is not lost. The future will come, but we will endure.

—Phil W. Bayles, oneroomwithaview.com

Where did I see it? – this list shows its progress.

Pittsburgh Filmmakers and Remembering Hiroshima, Imagining Peace, Pittsburgh, PA — August 5, 2016

Pilgrim Legislative Advisory Coalition, Jones River Landing, Kingston, MA — August 20, 2016

CBK Groningen, Groningen, Netherlands — September 3–November 27, 2016

Virginia Tech Research Center, Arlington, VA — September 8, 2016

Case Western Reserve University, Physics Department Colloquium, Cleveland, OH — September 15, 2016

Queen’s Film Theatre, Belfast, UK — September 17, 2016

Department of History, Brown University, Providence, RI — September 21, 2016

Willard Straight Theatre, Cornell Cinema, Ithaca, NY — September 27, 2016


Conclusion ###3

A loose three is attributed to this as the central theme of Containment is heavily here approached using an Art based form of narrative.  This in itself is a very lame element.  It practically philosophies about different advanced and abstract notions.  It focuses while doing this on the processes involved in capture storage and transportation to a location with interviews, protocols of public meetings and the personalities in ‘local’ politics making huge global impacting decisions.  Maybe the highest rank of Government was County Official.  No Presidential, No Congressman, No State Govenor is addressed.  Why not?  Didn’t want to speak? Unsuprisingly? So instead why not make cartoon versions of supposed dialogue and their answers to the Containment question so artistically examined?  Except the artistic endeavors are in my mind not even at the level of a third year student of Architecture whose grasp would no doubt evaluate the obvious pros-cons of symbolic gestural, linguistic, extra-terrestrial scenarios and much more as established throughout mainstream sci-fi non-fictional examinations and the plethora of commentary overloading the Internet from one campus to the Daily News in Singapore or Daily Comet in New York.

Point Blank Failings

I am afraid it lets the fundamental differences of responsibility being attributed to the decisions made in Nations which ignore this Containment issue.  The commentary is not validated while a ‘Nuclear’ Authority speaking as a Police(woman) whose role oversaw protocols and practices came nowhere close to the target.  A question of where possible ‘dangers’ – the plain direction of the conversation marked out terrorism as a principle if not top concern, – got lamely tossed back as ‘Couldn’t possibly answer/speculate!’ kind of moderation the film should not even allow as any direction of investigative informative journalism.
Take a look at the website for additional and valuable source material as the film is only part of a projected discourse and is a beginning – as far as ‘multiple locations’ arise by example through the stark reality of Fukishima.  Mr Nissan is interesting and in a semi-comatose state as his life is Groundhog Day – this is an insight in itself but only, only a miniscule part of what is required to be examined and dealt with by Governments and activists post UN interventions which are of a Human Disater reactive kind not fundamentally addressing ongoing Nuclear exploitation for Billions of dollars/yen/euros of Business.  It’s about the money stupid.
John Graham

21 September 2016

Belfast.