2026
13 February
My movie buddy Katalin and I saw this movie. You can't ignore the current hype about it. Regardless of how much Emerald Fennell's lean on Emily Brontë's original novel is creatively different, the film's dark, moody and at times gothic-like cinematography is underscored by Heathcliffe's (Jacob Eldori) masochistic streak, young Catherine's (Charlotte Mellington) sassy behaviour, (Margot Robbie) in her mature years, her father's (Martin Clunes) drunken excesses, and her nanny's (Hong Chau) scheming.
I found no suggestion of sexual chemistry between Heathcliffe and Catherine, in contrast to a show I just watched on SBS on Demand, 'Trespasses', in which the magnetism between Lola and Michael is virtually sizzling on screen.
I felt the film dragged on too long and had no empathy for the characters, though I was impressed by young Catherine. Katalin enjoyed the film.
25 January
Joachim Trier directed this film. Narrated from the perspective of the family home, Stellan Skarsgård plays Gustav, the estranged father (a once-renowned film director) of two daughters, stage actress Nora (Renate Reinsve) and housewife Agnes (Inga Ibsdotter Lilleaas).
After Nora refused to play a part Gustav had written for her, he cast the young American star Rachel (Elle Fanning) in the role. Conflicts arise as the film production progresses and culminate in Rachel's resignation from the project. The complex family dynamics are portrayed with sensitivity, and the film ends satisfyingly.
23 January
The Trial
Based on Franz Kafka's eponymous novel, this 1962 Orson Welles-directed film features Anthony Perkins as Josef K., a careful bank clerk, who is awakened by an intruding squad of detectives who announce his open arrest without divulging the charge.
His attempts to clarify matters with his landlady, his neighbour, and his uncle deepen his confusion. An alliance with a lawyer's assistant worsens the bureaucratic labyrinth into which he descended.
Filmed in monochrome and featuring expressionistic imagery, the film evokes a Kafkaesque nightmare. Great performance by Anthony Perkins, who was my heartthrob once when I was young.
2025
26 May
You should always write a review immediately after the event. I didn't. I enjoyed this film and was not aware of this dynamic dancer who brought emotional depth to the disciplinarian routine of ballet.
21 May
Műnter & Kandinsky – The Blue Rider
This historical drama is based on the complex
relationship between Expressionist painters Gabriele Műnter (1877-1962) and
Wassily Kandinsky (1866-1944), played respectively by Vanessa Loibl and Vladimir
Burlakov.
It just so happens that Műnter is one of my favourite
artists. Indeed, I could hardly wait to see this film, to enrich my library of picture
books and enhance my experience of visiting the Lenbachhaus in Munich and other
galleries/museums in Germany a few years ago. If you are a fan of the
Expressionist movement and are fascinated by the formation of The Blue Rider by like-minded artists, this film is a must. Sydney had an exhibition in 2023/2024
featuring Kandinsky’s work, but it is not too often you hear about Gabriele’s
work in the antipodes.
To start, Vanessa Leibl was not how I imagined the
portrayal of Gabriele Műnter. I somehow expected a more wholesome, earthy
actress and almost cringed at some of her hysterical outbursts. However, I am
sure that the directors and producers did their homework and found the individuals they felt most closely resembled the role. It’s fascinating how you can conjure up a
person in your mind whose work you admire, only to see footage of somebody
quite different from your expectations.
Moving right along, the film focuses on the turbulent
relationship between the two artists. Gabriele was born to upper-class parents in
Berlin. She began painting at an early age and had a private tutor. Aged twenty,
she attended Ernst Bosch’s painting classes and the Women’s School in Dűsseldorf.
Upon the death of her parents, she and her sister inherited
a large amount of money. They were able to live a life free of convention and spent
more than two years in America.
On their return in 1901, Gabriele attended the beginners’
classes of Maximilian Dasio at the Women’s Academy of the Munich Women Artists’
Association. She then studied at the Phalanx School in Munich, an avant-garde
institution founded by Russian artist Wassily Kandinsky.
Wassily Kandinsky, Portrait of Gabriele Műnter, 1905
The two were attracted to each other and soon became an item, actively involved in the formation of one of the most famous artist groups of Classical Modernism at the beginning of the 20th
Century.
All the prodigious names of that movement, Franz Marc, Paul Klee,
August Macke, Marianne von Werefkin and Alexey von Jawlensky, and important art
dealers of the time are part of the action at one time or another. Many artistically productive gatherings took place in Gabriele's newly purchased house in the small town of Murnau. Unfortunately,
August Macke (1914) and Franz Marc (1917) died during the First World War, and The
Blue Rider soon dissolved due to personality clashes.
Franz Marc, Blue Horse I, 1911
With the outbreak of the war, Kandinsky and other Russian
artists returned to their home country. His promise of marriage to Gabriele and
to reunite in Sweden did not eventuate; he married a younger woman instead.
Kandinsky and Gabriele
While devastated, Gabriele managed to establish herself as a celebrated artist. She survived the two wars, the demoralising harassment of the Third Reich inspectors for degenerative art, and lived to a ripe age of 85 in her beloved Murnau on the Staffelsee.
Gabriele Műnter, Boating, 1910
Gabriele Műnter, Sunset over Staffelsee, 1908-11, Oil on cardboard
12 May
I want it all
This documentary features the life and career of Hildegard
Knef (1925-2002), global film star, style icon, and grand dame of chanson.
I remember her well from my younger years in Germany. Some
loved and admired her, while others loathed her for abandoning Germany to pursue a career move to the United States. However, she returned to celebrate cinematic success and
established herself as a chanteuse.
I also remember her from the 1976 film, Jeder stirbt fűr sich allein (Everyone Dies Alone), based on Hans Fallada’s eponymous book. Knef
plays the female protagonist Anna Quangel in this thought-provoking narrative.
Hildegard as Anna Quangel in the courtroom scene of the film Everyone Dies Alone
Through interviews and archival footage, the film
documents Knef’s remarkable artistic brilliance and ambitious nature. It portrays an
artist who celebrated successes and crushing defeats, emerging with an
unwavering spirit as the star she was.
flamboyant Hildegard Knef
Her autobiography, The Gifted Horse, was published
in 1970 and topped the Spiegel bestseller list for six months. It has been
translated into 17 languages. I might see if I can get a copy to learn more
about this inspiring woman. Her signature chanson, Fűr mich soll’s rote Rosen
regnen (For me it shall rain red roses), aptly encapsulates this remarkable artist's aspiring reward.
13 May
The RNM and I saw the special presentation of
‘Riefenstahl’ as part of the German Film Festival. Directed by Andres Veiel,
this documentary, about Leni Riefenstahl, promoted as ‘one of the most
controversial women of the 20th century,’ won the Cinema & Arts
Award at the 2024 Venice International Film Festival.
Sourced from 700 boxes of personal estate materials, now accessible for the first time, the film offers a captivating insight into the
life of German film director, producer, screenwriter, editor, photographer,
actress, and war correspondent Leni Riefenstahl (1902-2003). Considered one of
the most controversial figures in film history, she still plays an essential role in the history of filmmaking. Students from various
media backgrounds would be familiar with her techniques.
Generally regarded as a groundbreaking filmmaker and an ingenious aesthete, she produced her 1935 Triumph of the Will and 1938 Olympia, which gained worldwide attention and acclaim and are considered two of the most
effective and technically innovative propaganda films ever made.
Riefenstahl at work at the film cutting table
Riefenstahl as war correspondent in Poland, 1939
After the end of the Second World War, Riefenstahl was condemned
for her work fostering Nazi-era propaganda. In interviews, she always
maintained that she was unaware of the atrocities committed by the Regime,
elaborating, ‘When you’re obsessed with work, it radiates a certain charisma and
energy that is very persuasive.’
Criticised for
portraying only athletic perfection, she pointed out that those were the only
participants of the Olympic Games at the time. She agonistically brushed off
the interviewer's accusations of being on very friendly terms with Hitler and
Goebbels, ‘It’s not true. We stop here because it’s not true. But it wasn’t…
Would I say that in front of a camera? I won’t go on. No way!’
Her postwar work included her autobiography and photography books about the Nuba peoples of the southern Sudan, where she spent considerable time.
She was a woman of remarkable talent and determination
who lived through challenging political times, leaving a formidable legacy of
admirers and detractors, and predicting that the German people were predestined for a return to morality, decency, and virtue.
17 April
Stay tuned for the German Film Festival. While at the theatre, we bought a bundle of tickets for May.
Geoff and I saw The Correspondent yesterday. Richard Roxburgh plays the title role in this film, which is based on Australian journalist Peter Greste's true story of imprisonment in Egypt in 2013 and his fight to get out of it.
Mr Peter, as he becomes known in prison, covered the news desk for a journalist colleague in Cairo during the Christmas holidays. Without warning, he is arrested and lingers in appalling conditions in a dungeon-like prison. (Having just seen The Count of Monte Cristo, I couldn't help wondering which set decorator borrowed the bleak torture-like chamber scenery first.) Eventually, Peter finds out that he is accused of terrorism. Caught as a pawn in political rivalries and corruption, he manages to make worldwide news, which unsurprisingly does not endear him to the officials of a brutal regime.
With the support of his brother and parents, he was finally released in 2015 after 400 days of soul-destroying incarceration.
In a telling scene, the Australian ambassador pays Peter a visit. She can't offer any assistance, but—wait for it—offers him a single lolly on parting. In contrast, the representative of the Latvian government offers him a passport for that country and positive news about the government's political pressure on Egypt for his release from prison. The connection is Peter's father, who originates from Latvia.
The film's cinematography was understandably dreary, Peter's seemingly endless walks through small, darkly lit corridors were a tad boring, and the whole atmosphere convincingly depicted the misery Peter endured. Richard Roxburgh's acting erased my image of him as the rakish Duke of Worcester in the 2001 musical Moulin Rouge.
While most Australians, and more than likely some citizens from the rest of the world, are aware of Peter Greste's fate, it is a story that needs to be told and an awareness created. Too many journalists have either suffered what Peter went through/or lost their lives following the path of their profession.
With stories like Peter's circulating, I'm sure I'm not the only one who carefully considers which country to visit.
16 April
The Count of Monte
Cristo and Spit are among the most diverse films I have seen recently.
The Count is a
historical drama based on Alexander Dumas’ eponymous book. Advertised as ‘sumptuous’
and ‘spectacular’, the film chronicles the fate of Edmond Dantès, (ably played
by Pierre Niney, whose portrayal of Yves St Laurent is still imprinted in my
memory), who, due to jealousy and intrigue, falls from a promising future into
the dungeon on an isolated island prison. Here, he miraculously endures for too many
years to be credible until his equally incredible escape.
Reinventing himself
as the Count, he now seeks revenge on those wronged him. Sumptuous
cinematography and spectacular scenery provide the backdrop to our hero's
endeavours. Filmed in the style of Bernardo Bertolucci’s ‘1900’ and Claude
Berri’s ‘Jean de Florette’, this swashbuckler, which was screened as part of
the French Film Festival, did not disappoint.
16 April
The Australian comedy
Spit starring David Wenham, whose memorable performance as the pyromaniac in ‘Cosy’
is, I believe, forever imprinted in my mind, takes place in present-day
Australia.
Unlike the Count, the character Johnny Spit (David Wenham, once voted Australia’s ‘sexiest man’) comes out of prison dishevelled, bumbling from one escapade to another, one
step ahead of old enemies trying to settle scores. Seemingly hilarious situations
do not detract from prejudiced attitudes prevalent in contemporary society.
I left both films without
regretting my visit to the cinema.
3 March
Last week, I saw the movie The Last Showgirl with my friend
Katalin. It stars Pamela Anderson, co-stars Jamie Lee Curtis, and was directed
by Gia Coppola. Predictably, it was about an older showgirl coming to
terms with her age in a profession dominated by a much younger generation.
In a drawn-out fashion, Pamela convincingly
delivered two pearls of wisdom applicable to any person facing the mature years
of their existence.
To her daughter: I’ve done what I did, I’ve done my
best, if you can’t forgive me for my mistakes, then that is your problem. I’ve
come to terms with my actions to the best of my ability.
To herself: I enjoy my profession. I love the
costumes, the glamour, the audience's adoration, and the whole routine. I have
a right to enjoy what I love doing.
Her acceptance of, and challenge to, reality came
when, due to the termination of her contract, she auditioned for a new part and
was told, "You are too old and cannot compete with 20-year-olds for a
dancing part." To which she replied: “I’m 57 and I’m proud of what I am.”
Perhaps a lesson to be learned?
23 February
A few weeks ago, I saw, amongst a hype of advertising
promotion, the movie Maria, directed by Pablo Larrain and starring Angelina
Jolie in the title role.
The movie is based on the last days of opera
singer Maria Callas. Flashbacks hint at moments when she was at the peak of her
extraordinary career as an operatic soprano and her lamenting acceptance of her
deteriorating relationship with Aristotle Onassis. Skilled audio interweaves
Jolie’s voice with Maria’s.
Seeing that film prompted me to read Arianna Stassinopoulos’ riveting biography, ‘Maria Callas’. Listening to Callas singing, combined with further research and actual interviews with Callas, made me wonder why the movie did not focus on what Callas was—a most extraordinary singer feted worldwide. It seems that opera lovers’ loyalty was divided between Callas and Renata Tebaldi. Callas reputedly said, that she admired Tebaldi's tone for its beauty.
Callas
was one of the most renowned and influential opera singers of the 20th
century. Her voice and
her incredible dramatic ability to assume the persona of her roles made her the
diva she was. No doubt, it was fostered by her remarkable discipline. She
should be remembered for her performances and her determination to get there. Her unfortunate
love affair with a man who openly disliked her craft and to whom she was an acquisition
in his arsenal of desired trophies is not what Maria Callas should be
remembered for.
Coming back to Angelina Jolie, I think she convincingly
portrayed Maria’s last days, and I am unable to understand why she did not
receive an Oscar nomination. Yet Nicole Kidman was mentioned for her portrayal
of Romy in ‘Babygirl’.
My only comment is that I should have followed my
friend Mara’s advice and walked out of the movie theatre but seeing that Nicole
shares my birthday, since I had it first, it is my, I stayed. 😏
2024
27 March
 |
| Sandra Hűller, Berlinale 2017 |
Since my last preview, two of the many films
I have seen stand out, even months after. Both
feature the remarkable German stage and film actress Sandra Hűller.
 |
| Sandra Hűller |
The first film by
Justine Triet, Anatomy of a Fall, chronicles the intimate complexities
of a couple’s failing marriage. Successful German writer Sandra (Hűller) lives a
secluded life in a remote town in the French Alps with her French husband
Samuel (Samuel Theis) and their eleven-year-old son Daniel (Milo Machado
Graner). When Samuel’s body is found in the snow, the police focus turns from
suspected suicide to murder, Sandra being the suspect. During the trial, the pair’s
conflicted relationship unravels thread by thread, with Daniel becoming a
crucial witness. Did she or didn’t she do it?
For her outstandingly
nuanced portrayal of Sandra, Hűller was awarded France’s National Film Prize,
the 2024 César and the 2024 Prix Lumière. She was also nominated as best actress for the 2023 Los Angeles Film Critics Association Award. She won Best Actress for the 2023 European Film Award.
 |
| Anatomy of a Fall |
The other film
starring Sandra Hűller, is The Zone of Interest by Jonathan Glazer.
Freely adapted from the eponymous novel by British writer Martin Amis, the action
takes place next to the concentration camp Auschwitz from 1940 till 1943. The
commandant of Auschwitz, Rudolf Höβ (Christian Friedel) and his wife Hedwig
(Sandra Hűller) with their five Germanic children, strive to build a dream life
for their family in a house and garden next to the camp.
 |
| Zone of Interest, Hedwig with her youngest |
Amongst the daily carefree
activities of Hedwig, her children and her lady friends, the sound of shooting,
dogs barking, camp overseers shouting, and the painful crying of prisoners are
heard. Now and then flames and smoke rise out of the crematorium’s chimney. When
Hedwig’s mother visits, she is initially impressed, congratulating her daughter
on her fine residential achievements. However, realising the significance of
the chimney smoke at night, the mother departs without a good bye early in the morning. |
| garden idyll next to the concentration camp |
When Rudolf is
transferred to another camp, Hedwig refuses to leave her paradise. He eventually
returns with another deadly mission, named Aktion Höβ.
Images of today’s site
of the concentration camp bring the viewer back to present times. The film is
disturbing, chilling and thought provoking.
For her portrayal as
Hedwig, Hűller was awarded the 2023 Los Angeles Film Critics Association Award for Best Lead Performance, Jonathan Glazer won Best Director, The Zone of Interest won Best Film. At the 2024 Oscars the film won Best International Feature Film.
2023
6 July
The New Boy
The New Boy, Warwick Thornton Director
In the 1940s, Aswan Reid is the new
boy, forcefully removed from his home environment and thrust into a remote
monastery run by a nun (Cate Blanchett) who breaks the rules and has issues to
deal with.
A visually stunning film; I sometimes felt like
I was looking at a painting by one of the great impressionist masters. Aswan
Reid perceptively portrays the new boy’s sense of curiosity, wonder, puzzlement
and endeavour to adjust. Blanchett’s intense role is a slight detraction from
the issue at stake, i.e. the indigenous boy’s mystical power being replaced by enforced
Christianity.
Sister Mum (Deborah
Mailman) offers the other orphan boys comfort and a cuddle. In a tender scene,
she cradles a photo of herself with two young daughters, presumably taken away
from her. Farmhand George (Wayne Blair) is making the best of what has been forced
upon him.
Warwick Thornton creates a supposedly simple
but thought-provoking and sensitive plot against the magical background of a
beautiful landscape enhanced by the actors’ natural flair. The
film and the crew absolutely deserve the Cannes 10-minute standing ovation. I
wish I could have been there.
 |
| on stage at the Cannes Film Festival |
2022
30 December
The Menu
A film I'd rather forget.
23 December
The Road Dance
I saw this film with my friend Katalin. It is based on John MacKay's eponymous bestselling Scottish novel and set against the backdrop of the storm-lashed, bleak, but ruggedly beautiful island
of Lewis in the Outer Hebrides in 1916.
Hermione
Corfield, in Kirsty's role, is bright, kind, inquisitive, conscientious, and looking for a
better life. With her boyfriend, Murdo (Will Fletcher), she shares an interest
in poetry. Together they plan to leave the tradition-steeped island to move to
America. But Kirsty is knocked unconscious and violated, and Murdo is called to
the front of the First World War. She manages to keep her resultant pregnancy
hidden from the brimstone Calvinist inhabitants. Tense moments ensue when a
dead baby has washed ashore. With Murdo declared deceased in France, Kirsty,
with the help of her mother and sister, manages to get a passage to America,
where the vagaries of fate await.
I have
not read the book, but believe the movie's adaptation by director Richie Adams
is reasonably faithful. The local characters are authentic in their
eccentricity; I am thinking of the recluse Skipper (Jeff Stewart) and Old Peggy
(Alison Peebles). The acting is superb, the drizzly atmosphere palpable, and the
tension mesmerising. In short, I think it is a great movie. And, no, we did not
leave with tears of sadness.
19 December
Margrete, Queen of
the North
Last week, I saw this
magnificently gripping historical drama based on actual events. Directed by
Charlotte Sieling and starring Trine Dyrholm in the title role, the action starts
in 1402 in Denmark. Even though Margrete brought Denmark, Norway, and Sweden
into a peaceful union, she is denied the throne as a woman. Resourceful and
determined, she governs through her adopted son, King Erik (Morte Hee
Andersen). She brokers a marriage between King Erik and Princess Philippa,
daughter of England's Henry V, to secure the Nordic alliance's future.
Margrete's attempt to
appease enemies within is thrown another challenge when her biological son
(Jakob Oftebro), long thought of as being dead, presents himself and lays claim
to his rightful throne. She is faced with an impossible choice no ruling mother
would want to make.
The film, reputed to
be the most extensive and expensive Danish historical production, recreates the
stunning Nordic medieval landscape with its royal intrigue, power games,
betrayal, and of a woman ahead of her time. Still affected by the lugubrious
atmosphere and powerful performances, I left the theatre pondering Margarete's
decision and its impact on the fate of the oldest European monarchy.
17 December
She Said
The topic has been in
the media. It started the ‘me too’ movement, and I like Carey Milligan. Unfortunately,
I found the film too dry and drawn out. I was not the only one battling slumber;
one of my female companions actually succumbed to it. And this was the 1:30 pm screening.
Need I say more?
2 December
Mrs Harris goes to
Paris
Based on Paul Gallico's 1958 novel, the
subtitle could be 'A dress by Dior,’ which tells the story. The film is sweet, predictable, and of the kind you can imagine
yourself taking your grandmother, that is, if you have one.
22 September
I am just catching up, writing about some films I have seen recently.
I listened with
my friend Sally to Rosie Hays, Associate Curator at the Australian
Cinémathèque, introducing ‘The Films of Federico Fellini’. Rosie delivered an
insightful dialogue about this visually spectacular, exuberant, elegant, poetic
master of Italian filmmakers. The film shorts she showed us illustrate his
cinematic development. We thoroughly enjoyed Rosie’s astute and exciting
presentation.
We saw ‘La Strada’.
Made in 1954, this black-and-white drama stars Giulietta Masina as Gelsomina
and Anthony Quinn as Zampano. Gelsomina is a naïve young woman living in
poverty whose mother sold her to Zampano, a brutish travelling performer. Together
they traverse small-town Italy, earning a meagre income from his strongman act.
Gelsomina's innocence is endearing and sharply contrasts with her companion's ruthlessness. Both actors are superb: Gelsomina is comical, tragic and
delightful. Slithers of Zampano’s humanity surface through his rough exterior.
The film depicts Italy
after WWII, before the onslaught of tourism and prosperity. It shows the fragility
of life and the mechanisms applied to cope or not. The stark monochrome provides a gloomy atmospheric backdrop to this drama, in which Giulietta Masina shines briefly
like a star. Nino Rota's mournful,
poignant trumpet tune is the musical leitmotif that eventually reveals Gelsomina's fate to Zampano.
La Strada won the inaugural Academy Award for Best Foreign Language Film in 1956.
Le Notti di Cabiria
Le notti di Cabiria was made in 1957. The
expressive Giulietta Masina stars as Cabiria, a naïve prostitute living in
Rome. Her lover Giorgio lures her to the river and pushes the non-swimming woman into the water,
running away with her substantial earnings. She regains her joie de vivre and meets
a famous movie star, who, after a fight with his girlfriend, takes Cabiria
home. There she encounters a life of opulence and splendour that ends when the
girlfriend returns. During a religious procession, she prays to Virgin Mary for
a better life. At a magician’s performance, she is hypnotised and imparts her
wish to be married. She also proudly conveys that she owns her own house. Oscar,
who was in the audience, befriends her, and she falls in love with him. She
sells her house and is looking forward to a future with Oscar. And again, she
falls into the same trap.
A group of young
people surround her; she smiles and poignantly, a single black tear runs down her cheek.
Giulietta won the best
actress award at the Cannes Film Festival in 1957. The film won the Academy
Award for Best Foreign Language Film.
A while ago, I saw Where the Crawdads sing.
I did enjoy
this film. It was as I imagined it after reading the book.
Good luck to you, Leo Grande
While all my female friends rave about this movie, I am
underwhelmed. Perhaps I have been spoiled by the French film, ‘The Young Lovers’.
A similar constellation, older woman, younger man, now seems so topical. I
thought perhaps only in the antipodes, but then Emma Thomson is English, and it
is an English/American co-production. I admire Emma Thomson for baring all and
shattering the images of perfect young bodies usually presented as a symbol of ideal
beauty. That, I do applaud.
The Quiet Girl
A tender, slow-paced movie starring a gentle and endearing Catherine Clinch as Cáit. The subtitled dialogue is mainly in Irish, and the narrow screen adds to the moody
atmosphere. The open-ended conclusion, while moving, left me feeling despondent.
Monday 2 May
Veins of the World, 2020
As part of the APT10 cinema programme at the Galerie of Modern Art, I saw a lovely film, 'Veins of the World'. Made in German/Mongolian collaboration, Byambasuren Davaa directed a cast with child actor Bat-Ireedui Batmunkh in the lead.
In a beautiful sweeping Mongolian landscape, 11-year-old Amra (Bat-Ireedui) is competing on 'Mongolia's Got Talent'. He chose a folk song. His father opposes the exploitive mining companies, which are digging for gold and therefore destroying the nomads' fertile lands. After an accident, Amra takes it upon himself to provide for his mother, thereby relinquishing his ambitions for the contest. Alas, all is not lost as this mother knows and loves her son.
The tenderness of the nomadic people and their egalitarian lifestyle is contrasted with the looming destruction of their existence. A universal wake-up call to put a stop to irresponsible exploitation of the good earth for company greed.
Saturday, 30 April
The Art of the Heist, 1968
It
may not be widely known that the Gallery of Modern Art (GOMA) includes the Australian
Cinémathèque, which has for years been screening films in two comfortable
theatres. Often, the cinematic themes run in tandem with exhibitions or specific
genres. The current programme encompasses more than 30 crime subgenre movies under
the umbrella – ‘The Art of the Heist’. It started on 29 April and finishes on
26 June 2022.
Diverse
cinematic styles are depicted in film noir, action, martial arts, comedy and
caper. Films span from the 1950s to recent years. Classics include big stars
like Grace Kelly, Gary Grant, and Steve McQueen, to name a few. Who could ever
forget Audrey Hepburn in How to Steal a Million or Paul Newman and Robert
Redford's The Sting. A feast awaits the lover of those classic movies.
 |
| Thomas Crown |
On
opening day, I saw 'The Thomas Crown Affair' with Steve McQueen as the suave thief who got away with the perfect mega-dollar bank heist. However, when the sleek
and elegant insurance investigator Vicki Anderson (Faye Dunaway) picks up his
trail, life becomes a tad complicated for Thomas. The complication increases when
Vicki struggles to contain her attraction to him. For Thomas, who does not need the money, the game becomes a chase for Vicki. Will he get away with a
repetition of his first daring heist?
 |
| Vicki Anderson |
Under
Norman Jewison's direction, the film was released in 1968 and was a huge box-office success. Haskell Wexter's cinematography is unusual, using a
split-screen technique in which images shift across moving panes. The music was
composed and conducted by the great Michel Legrand. Theadora Van Runkle
designed Faye Dunaway's classy costumes.
I
am looking forward to watching many more of the fabulous classic movies as part
of 'The Art of the Heist’.
The Lost City
Amongst some not-so-memorable films, I saw ‘The Lost City’
with Sandra Bullock and Brad Pitt. It's an adventurous romp through the jungle with
some funny moments.
The Norseman
I have the impression that riding on the success of the ‘The
Vikings’ series on TV, ‘The Norseman’ endeavours to recap those moments. The
mood is gloomy, the fighting is brutal and too drawn out, the sound is ominous,
the dialogue is supposedly Nordic, and the scenery is grey and dark. In a nutshell, based
on a mix of Hamlet and Macbeth, the son avenges the death of his father. My
friend Katalin couldn’t stop laughing at the last scene. Why? You have two
characters facing each other, one with a sword through his heart, the other erect,
his weapon in hand; alas, he stands sans his head.
The movie was filmed in Iceland and Ireland. I prefer 'The Vikings'.
Wednesday 27 April
Helmut Newton
Last Sunday's treat was the screening of the 2020 documentary gem ‘Helmut Newton: The Bad and The Beautiful’ at the New Farm Village Twin cinema.
Judging by the cinema goer's attendance numbers, the German/Australian photographer's cult status as one of the great masters of photography still exists. Being in possession of the gigantic 'Helmut Newton' Taschen book, I can attest that once you have seen his photographs, you won't forget them. They are strikingly, aesthetically arresting. Newton had an interesting and long-lasting connection to Australia.
Born to a wealthy Jewish manufacturing family in 1920 Berlin, Helmut
Neustädter
purchased his first camera at the age of twelve. From 1936, he studied photography
under the famed Yva (Elsie Neuländer Simon). Fleeing Nazi persecution
in 1939 Germany, Helmut boarded a ship in Trieste for China.
Interned in Singapore by British authorities, he was sent to
Australia in 1940 and released from the Victorian Tatura internment camp in 1942. He briefly
worked as a fruit picker (can you believe it?) and enlisted in the Australian Army, then worked as a
truck driver. After the war in 1945, he became a British subject and changed his
name to Newton in 1946. He set up a studio in Melbourne’s fashionable Flinders
Lane, where his photography focused on fashion, theatre, and industrial assignments.
According to June Browne, Newton proposed marriage in 1948, saying, they will never have any money but lots of fun. June was an actress and model and later became a photographer. In due course, she changed her name to Alice Springs.
 |
June modelling the ‘Hat of the Week’ for Myer’s Department
Store in 1950. |
In 1953, Newton shared a joint exhibition 'New Visions in
Photography' with Wolfgang Sievers, another German refugee, at the Federal
Hotel in Collins Street. This offered Australians a first glimpse of 'New Objectivity' photography, a movement started in 1920s Germany as a reaction against
expressionists. It rejected their self-involvement and romantic idealism. With
Henry Talbot, Newton established the 'Helmut Newton and Henry Talbot' studio. Nton worked successfully as a fashion photographer for the
Australian edition of Vogue until his departure in 1957 to
British Vogue in London. In Paris, he worked for French and German
magazines before returning to Australian Vogue in 1959.
 |
| young Helmut and June |
In 1961, Helmut and June settled in Paris, where his growing
reputation as fashion photographer ensured assignments for Vogue and Harper’s
Bazaar. Inspired by his roots in Berlin during the Weimar Republic, Newton developed a particular
style of photography marked by erotic, tantalisingly stylised themes and settings.
He shot the beau monde of the art world: actors like Elizabeth Taylor, Romy
Schneider, Ava Gardner, Charlotte Rampling, Isabella Rossellini, Hanna Schygulla,
Helmut Berger;
 |
Ava Gardner, 1984 or Fanny Ardant 2022?
|
 |
Elizabeth Taylor, Los Angeles, 1985
|
models like Claudia Schiffer, Maggie Tabberer, Twiggy; fashion
designers like Valentino, Yves St Laurent, Karl Lagerfeld, Tom Ford;
 |
| young Tom Ford |
 |
| our own fabulous Maggie Tabberer, 1959 |
princes and royalties like the Monacoes. Not to mention other high-profile personalities. I think you get the idea, the list being too long to continue.  |
| Princess Caroline of Monaco, 1989 |
While June became a photographer in her own right, she
collaborated with Helmut on most photographic assignments and studies. The
couple divided their time between their abodes in Monte Carlo and Los Angeles. In
2003, Newton established the Helmut Newton Foundation (HNF) to preserve and
present his and June’s work. The HNF benefits from a world-class architectural setting: a former Prussian officer's casino in the historic centre of West Berlin. I have been lucky to have been able to travel overseas at a time when it was part of my annual agenda. It is an imposing building. The entrance staircase confronts you with five oversized photographs of nude women who pose in a self-assured manner. You can see them dressed as well. Newton is renowned for his portraiture of strong women. More than two million visitors have perused the photographic display in the 1,500-square-metre exhibition space. |
| dressed powerful women |
In this documentary Newton’s wife, June, Grace Jones, Charlotte
Rampling, Isabella Rossellini, Anna Wintour, to name just a few, share their moments
with him and pay tribute to his genius and controversial legacy.
 |
| pensive Helmut |
Newton's unique and provocative style might pose the question whether
the images of these women were subjects or objects for him. The home movies and
archival footage gave me the impression of Helmut being a very creative, fun-loving, slightly naughty but invariably lovable larrikin. This movie will probably be screened again at one of the Five Star Cinemas.
 |
| beautiful shot of June and Helmut |
Helmut Newton died on 23 January 2004 in West Hollywood.
June Newton died on 9 April 2021 in Monte Carlo.
Plein Soleil
‘Purple Noon’ was my last movie of this year’s French Film
Festival. A young Alain Delon, described as ‘dangerously beautiful’, plays
Tom Ripley (based on the 1955 novel ‘The Talented Mr Ripley'), a companion of
few means, whose mission is to accompany his wealthy friend Phillippe to San Francisco.
Being in proximity, Tom develops a liking for Philippe’s beautiful girlfriend and his taste for the finer things in life.
This temptation forges the setting for a crime with which Tom seems to get
away—until the appearance of a rope that is attached to a boat and the scream
of a female. That final scene was well executed in writers' circles, you would describe it as perfect show and not tell.
Shot in 1960, the scenery is nostalgic and beautiful, Alain
is delicious, and Romy Schneider’s cameo at the beginning was a nice touch. A
lovely finish to a great FFF.
Sunday 10 April
French Film Festival 16 March - 13 April
How
wonderful it is to be able to go to the movies again and watch them on the big
screen after the covid hiatus. I have seen a feast of movies as part of the
French Film Festival, which concludes on Wednesday, 13 April. So far, I have experienced three highlights.
It
started with the opening night of ‘Lost Illusions’. I could not believe the length of the queue of people outside the Barrack cinema. Apparently, more than seven hundred
people attended a screening in each auditorium. Apparently, there was a
musical prelude; alas, amid the wave of heads and the volume, I was
unaware until told after the event. Bubbles bubbled - reminiscent of events once
thought never-ending. Familiar faces surfaced - from a past seemingly long ago. The joy of it all.
‘Lost
Illusions’ is a sumptuous production about a young, poor country poet, Lucien (Benjamin
Voisin), who, in 1821, arrives on the scene of Paris high society. Lucien is eager
to present his genius. However, not even his patroness and lover (Cécile de
France) is able to protect him from the venomous intrigues of a lowbrow newspaper milieu. A scenario, perhaps not altogether unfamiliar? To
survive, he becomes one of them. Ironically, their leader (Gérard Depardieu) is illiterate.
The script is adapted from a Balzac novel.
While
reminiscent of earlier lavish productions, such as Visconti’s 1963 ‘The
Leopard’, I was a bit underwhelmed, despite the great names of Depardieu and de
France.
 |
| Loved that movie |
The
crime thriller ‘Maigret’ starring legendary Gérard Depardieu as the eponymous Inspector did not disappoint me. Dark and moody images formed the perfect backdrop to
good old-fashioned detective work. The body of a beautiful, young, unidentified woman was discovered in 1953 in Paris. Bit by bit, Maigret uncovers layers
of the young woman’s life and with that her murderer. His method of listening
before acting provides the clues he needs for his crime-solving.
I
enjoyed the movie; the pace was good, and I was not disappointed by the acting of the idol of my once-younger years.
 |
| First highlight |
My first highlight, the
thriller ‘Kompromat’ had me sitting on the edge of my seat in a number of
scenes. Apparently based on true events, it features Mathieu (Gilles Lellouche), who accepts a post as head of the Alliance Française in Irkutsk in Siberia. And
irksome the place is, especially in the current climate of Russian war crimes. Because
of cultural differences, Mathieu falls afoul of the authorities and is
subsequently hunted by the Russian Federal Security Service, whose main
prosecutor has an uncanny resemblance to Putin. With the aid of his bittersweet
love interest, the exquisitely beautiful Joanna Kulig, the chased manages to
stay one step ahead of his persecutors. Her
courage and principles contrast with the menace and brutality of the FSS.
I
found the movie compelling with moments of heart-stopping tension. Mathieu was
convincingly portrayed by Gilles Lellouche. He seems to be a favourite, this being
my first of three Festival movies starring him.
I
felt the movie could have been condensed. While pondering the
appropriateness of its title, a feeling of ennui encroached upon my senses.
 |
| Second highlight |
The second highlight on my schedule, ‘The
Young Lovers’, a story inspired by real events, was next. Starring
the never-ageing and fabulous Fanny Ardant as 70-year-old architect Shauna, and
Melvil Poupaud as mid-40s oncologist Pierre, they succumb to their mutual
attraction. Overcoming obvious obstacles: self-doubts and prognosis of an invading illness on Shauna’s part, a wife (Cécile de France) and a son on
his part, they commit to each other.
I
thoroughly enjoyed this film. Without sentimentality, this December-May romance
is a life-affirming portrayal of a couple’s unexpected connection amid society’s
preconceptions. Love conquers all.
 |
| Compelling |
In
‘Another World’, Vincent Lindon plays an executive, Philippe, in charge of an
industrial multinational company. Constant cost-cutting measures demanded by the
American overlords have taken a personal toll on him, on his relationship with his wife Anne (Sandrine Kiberlain), and on his troubled son Lucas (Anthony Bajon). Faced
with yet another downsizing operation, Philippe sticks to his principles and
fights back.
I
found the film compelling; Lindon convincingly portrays a man forced to choose between conforming to the rules of his ruthlessly profit-driven conglomerate employer and the integrity of his convictions. A topic all too familiar, sadly
not only in present times, though perhaps never executed before in such a
ruthless manner.
 |
| Powerful performances |
‘Goliath’ is described as ‘a politically-charged drama’. The film opposes Patrick, a Parisian
lawyer specialising in environmental law, to Mathias, a lobbyist for the
pesticide industry. A contrast aptly depicted not only in ideology but appearance;
earthy Patrick (Gilles Lellouche in his second role of the Film Festival) against
elegantly suave Mathias (Pierre Niney, still deeply embedded in my memory in
his portrayal of Yves St Laurent). The contrast between the misconduct of current
agricultural practices, which result in the death and fatal diseases of the
farming community, and the moneyed lobby group of big conglomerates, is as
stark as its polarising leaders. Patrick fights a seemingly not only Sisyphean but hopeless task.
However, a leaked company document provides the proof needed in this David-and-Goliath fight.
Great
performances complement a topic concerning environmental outcomes that need
serious contemplation and action.
 |
| Third highlight |
The third highlight for me is ‘Farewell, Mr Haffmann’. Released in 2022, directed
by Fred Cavayé, and set in Montmartre, this drama stars the legendary Daniel Auteuil, Gilles Lellouche, Sara Giraudeau, and Nikolai Kinski.
To safeguard himself and his family,
successful Jewish jeweller Joseph Haffmann (Auteuil) sells his shop in a
pro forma arrangement to his employee, François Mercier (Lellouche), in 1941 in occupied Paris. The arrangement is that this contract will be reversed at war’s
end when Mr Haffmann returns from his hiding place. He will then assist
François in setting up his own outlet.
The situation changes dramatically when
Mr Haffmann is trapped in his store because of the Nazi round-up of Jewish
citizens. Unaccustomed power and greed infiltrate François’s personality to the
dismay of his wife, Blanche (Giraudeau). She laments to Mr Haffmann that they once had nothing, but now her husband wants everything. François boldly and
unreasonably blackmails both Blanche and Mr Haffmann. As their principles
weaken, François falls by the wayside, consumed by increasing greed. A cat-and-mouse game with the German Kommandant (Kinski) adds
tension and suspense when he warns François that ‘luck is like war, it won’t
last’. Prophetic words in view of what befalls François.
Excellent performances by the three
main characters present challenging moral complexities. There are several
twists, a satisfying conclusion, and a lingering question that left me pondering.
 |
| Sara Giraudeau |
A great movie that is based on the
award-winning play and underscored by Denis Rouden’s fabulous cinematography
and the musical composition of Christophe Julien. The film screens currently at
the Palace cinemas.
 |
| puzzling |
Advertised
as a psychological thriller, ‘Madelaine Collins’ starring Virginie Efira, follows
the life of a woman whose existence is divided into two. On the one hand, she is the
wife of a successful musical director and mother to their two sons in Switzerland.
On the other hand, as the partner of a younger unemployed man, she takes on the role of mother to his young daughter in France. Why? I never did find out. It seems neither did she,
as she assumes yet another identity at the end of the movie. According to the
preview, ‘sophisticated and elegant’ - she was, but instead of ‘suspense’ I
would prefer - as ‘puzzling’ as I was on leaving the cinema.
While
comic in its presentation, the film poses a situation that is also being debated here: the mismanagement and greed of aged care providers. The film’s uplifting solution
to accommodate the aged care residents with the children of an orphanage poses,
while seemingly unrealistic, a ponder worth alternative.
‘The
Villa’ is a comedy about a young man, Milann (Kev Adams), who, to avoid a jail
sentence, has to work in a retirement home. The initial dynamics between the residents
(Gérard Depardieu
and Mylène Demongeot amongst them) and carefree Milann have slapstick moments. The
establishment's owner is breaking the law, and orphaned Milann is forging a
touching relationship with the residents.
2021
Persian Lessons - 4 October
a
film by Vadim Perelman
Survival by creating
a language. This powerful film is based on the short story ‘Invention of a Language’
by German writer Wolfgang Kohlhaase and true events.
In 1942, to survive being
shot by the Nazi firing squad, a Belgian Jew poses as Reza, a Persian. It happened that SS Commander Klaus Koch ordered his subordinates, Max and Paul, to search
for a Persian prisoner. Max doubts Reza’s ethnicity and fanatically pursues his
endeavour to prove his theory right.
Koch wants to learn
Farsi to open a restaurant in Tehran after the war. To stay alive, Reza
uses his resourcefulness to invent a language based on the detainees' names, which he must record in the German book register.
Until the German
surrender in 1945, between 25,000 and 30,000 Jewish prisoners passed through the concentration
camp in a revolving manner. While the prisoners are shot, German officers and the administrative
staff dine, wine, and sing. Against the backdrop of the camp's inhumanity and the surfacing fractures in
the Nazi hierarchy, the dynamics between the persecutor Koch and the victim Reza
change. Reza becomes the teacher and Koch the pupil. Koch intervenes in Reza’s
fate of being shot on a few occasions. Eventually, Koch achieves his pinnacle by reciting
his poetry to his instructor.
Reza’s memorising the
names and identities of the thousands of murdered victims to create a gibberish
language runs like a Leitmotiv through the film. It forms the basis of the
understanding between the unwitting persecutor and his victim, who is walking on a tightrope between life and death. The sobering ending
left us pondering about human nature.
How far would you go
in a fight for survival? Today, there are still countries where similar circumstances pose this eternal question to unfortunate individuals and groups. What have we learned as the human species? A topic well worth
considering.
Nahuel Pérez
Biscayart, as Reza, convincingly portrays the fear, dilemma, and glimmer of the victim’s hope. Lars Eidinger is brilliant as brutal, cruel, yet kind and
sentimental Koch. Jonas Nay as Max is ruthlessly spine-tingling in his pursuit
of Reza. Andreas Hofer as Commander and Leonie Benesch as Max’ love interest
complement the outstanding cast.
The faded denim-coloured
tones in Vladislav Opelyants’ cinematography convey the brooding, unsettling
mood of the action.
The film premiered at
the Berlin International Film Festival in February 2020. It is currently in Brisbane
cinemas.
The Collini Case - 19 June
Amongst several films
that I have seen at this year’s German Film Festival, The Collini Case
stands out for me. The film’s premise, ‘What if a legal system fails to
recognise unspeakable crimes?’ remains a universal and timeless topic. In this
case, a young, promising, and ambitious lawyer, Caspar Leinen (Elyas M’Barek), takes
on the defence of Fabrizio Collini (Franco Nero), an Italian who has worked in
Germany for over thirty years and has never run afoul of the law. Yet, for
seemingly no reason or explanation, he shoots a well-respected German industrial
magnate, Hans Meyer (Manfred Zapatka).
As Caspar delves into
events that took place in 1944 Montecatini, his allegiance to his former
romantic partner Johanna (Alexandra Maria Lara), Meyer’s granddaughter, and his
professional commitment to Fabrizio clash. Uncovering a political conspiracy
that was sanctioned in 1968 at the highest governmental levels, Caspar discovers Collini’s
motivation for the murder of Meyer.
Based on true events
and the eponymous best-selling novel by Ferdinand von Schirach, the unyielding
suspense and excellent acting kept me spellbound. Marco Kreuzpaintner directed
this drama-thriller.
The film won the Audience Award at the 2020 Norwegian International Film Festival.
Another Round – 14 February
A film by Thomas
Vinterberg starring Danish film heavyweight Mads Mikkelsen as Martin, aptly
supported by Thomas Bo Larsen, Magnus Milland and Lars Ranthe. These four
teachers, somewhat disillusioned and struggling with the ordinariness of their lives,
embark on an experiment based on Norwegian
psychiatrist Finn Skårderud’s theory that humans are born with a blood
alcohol level that is 0.05 per cent too low. Thus, they start to drink and
initially record their experiences. The resulting euphoria and boosted
self-confidence strip them of their hitherto mundane existence, and their high-spirited
teaching methods inspire their students. Even his wife is pleasurably surprised
by Martin’s exuberance. However, as their behaviour becomes unacceptable, the consequences
are no longer acceptable. Initially tainted by a tragedy, the teachers’ optimism
for their future conduct gets caught up in the Year 12 school leavers' end-of-school celebrations.
Reminiscent of scenes from Mamma Mia, it was great to see Mads Mikkelsen perform a dance routine among the students’ gaiety. Snippets of Danish
customs like the school choir, the young soccer team singing before a game, and
the merriment of the teachers and townspeople with the school leavers are
delightful. The film left me with a smile and contemplative sanguinity.
Minari - 10 February
My friend Eva gave me
tickets to the Minari preview last night. We follow the move of a
young Korean couple, Jacob (Steven Yeun) and Monica (Han Ye-Ri), with their two
children, Anne (Noel Cho) and David (Alan S Kim), from California to a rundown
farm in Arkansas.
Tired of working in a
factory where they are separating chicks by their sex, David aspires to fulfil
his dreams of an American life. The arrival of Monica’s mother, Soonya (Youn
Yuh-jung), to help with the children provides moments of hilarity mixed with pensiveness.
Her wily demeanour overcomes David’s initial resistance to his grandmother’s
presence. It is delightful to see him internalise her wisdom.
Soonya successfully
plants minari, an elixir of all sorts, while Jacob struggles with his crop. The
antics of the religious zealot Paul (Will Patton), who works for David as a
farmhand, add to the family’s puzzlement about their new home. New arrivals to
Australia can relate to the confrontation with unfamiliar customs depicted
in several scenarios.
A traumatic incident
shakes the family’s relationship and contextualises what matters most.
I was enchanted by the
delicate beauty of Monica and Anne. The interaction between Soonya and David is
priceless; both are gorgeous. Lee Isaac Chung wrote the script and directed the movie, which is subtle
and gentle. Brad Pitt is the producer, and Emile Mosseri wrote the musical score.
We left the theatre with a joyful disposition. The movie opens in cinemas on 18 February.
Only the Animals - 27 January
This French thriller, set in a wintry French
landscape as well as the busy streets of Sierra Leone, interweaves the lives of
five characters. All are linked to the disappearance of Evelyne, a well-to-do housewife.
I was a little bit reminded of the film Babel.
The direct or indirect involvement of each person to Evelyne reveals pieces of
the original puzzle. The action of an online scammer recalls the recently reported
cases in the media of the victims of such a crime and how their loneliness can
channel their behaviour.
The film is an entertaining mystery full of turns
and unexpected twists and oh, so deliciously French.
High Ground - 26 January
We saw the preview last night on Australia Day. This film is aptly described as 'a gripping, visually spectacular revenge thriller'. The landscape of 1930s Arnhem Land is truly 'ravishing' and entices me to experience it firsthand, its beauty unique and unlike any in Europe.
After the almost total massacre of an Aboriginal tribe by representatives of the British Crown in 1919, the action resumes twelve years later.
The young slaughter survivor Gutjuk (Jacob Junior Navinggul), who
was raised in a white mission, is recruited to team up with ex-soldier Travis
(Simon Baker) to track down Baywara (Sean Mununggurr), a dangerous warrior, who is his uncle. Thus, the chase begins, the past catches up, loyalties are
tested, and the conflict continues. Amidst the violent behaviour of
the police and pioneers, the noble actions by Travis and Claire (Caren
Pistorius) give us faith in the goodness of some settlers.
Based on true events, this story is a salient
reminder of the aftermath of this continent's invasion and colonial
violence. Moran's (Jack Thompson) utterance, along the lines of bad men do bad things for bad men to follow encapsulates much of Australia's history. While present
generations cannot undo the deeds of the past, we should seriously endeavour to
create a society that equally respects all human beings and their ancestral roots, regardless of colour, race, gender, age, religion, and disability.
The acting is extremely convincing by the whole cast. The best film I have seen in the last few years. Stephen Maxwell Johnson directed the film, which is flawless, and which is screening now.
Promising Young Woman - 15 January 2021
I saw this film first on New
Year's Eve 2020. However, due to a little bubbly before dinner on that evening,
followed by a little wine with dinner, finished with another little glass of something while
sitting in the theatre (is it not New Year’s Eve?), I remember seeing the
beginning and then waking up at the end credits of the movie.
Just as well it was the 2020 finale, alas, it was not yet midnight when we left the theatre. And, yes,
we did see the fireworks at Victoria Park on the way home.
Geoff told me that it was a movie
worth seeing, as did my friend Pam. Hence, my visit yesterday at 12:30 sans
bubbly, sans vino, but avec d'leau.
I am glad that I saw it. Cassie (Carey Mulligan) is on a mission to avenge the wrongs done to vulnerable females by males; The
culture of misbehaving privileged white males as depicted in the movie is
totally unacceptable. Watching the report on the bullying culture at St Kevin's on last year's ABC reminds me of the air of superiority and empowerment that
is fostered by the old school tie, resulting in such misbehaviour. Only
when children are taught by example to respect all human beings regardless of
class, gender, race, colour, religion, age, disability, and inebriation (in the
film), can we have a wholesome society. Wouldn’t that be wonderful to have people in power who show and enact respect, not just a little (sorry, Aretha, I do
love your song). We have been subjected to so much political misbehaviour on
the world stage and at home. It is unacceptable.
The movie is written and directed
by Emerald Fennell (Camilla in The Crown) and co-produced, amongst others, by Carey
Mulligan and Margot Robbie. Carey Mulligan is brilliant as Cassie. It is unsurprising that such a dynamic combination tackles the
eon theme of societal hypocrisy with powerful punches of wry humour.
The Furnace - 27 December 2020
In the 1890s, Western Australia, a rugged bushman, David Wenham, teams up with a young Afghan cameleer, Ahmed Malek, to launder some stolen gold bars. While their motives differ, they share the same goal and strike an incongruous pact to achieve it.
The adventure takes place in a ruggedly beautiful landscape that is inhabited by local Aboriginal people and traversed by Muslims and Sikhs from India, Afghanistan, and Persia. Along the way, a Chinese settlement is disturbed by white police troops who are hunting for gold.
The purity and dignity of the people of colonised continents are in stark contrast to the greed of the colonisers. Yet this is not an accusatory tone; it left me pondering the sins of our forefathers.
The acting of all is superb, the direction superb.
One of the best films I have seen this year 2020.
Nomadland - 26 December
Frances McDormand gives a powerful performance as Fern, a grey nomad roaming the American states in her van of previously better days. The economic collapse of her recent hometown brought about this change in lifestyle. During her journeys, she meets up with fellow nomads, most of whom play themselves.
Disregarding opportunities to swap her life of wandering for permanent residency, she makes her choice and sticks by it.
We left the theatre pondering the many what-if moments that can dramatically change your existence through no fault of your own.
The Dry - 20 December
We saw this film with Eva and Charlie. Both Eva and I had read the book a while ago and enjoyed it.
Eric Bana is Federal Agent Aaron Falk, as I would imagine him. The film credibly depicts the mood and atmosphere of a remote Victorian town with its people and some of their prejudices.
A baffling crime from years ago is solved, and after some tense scenes, the perpetrator of the recent crime that Falk investigates is brought to justice.
The film is true to the book and was enjoyed by all of us.
Movies that I have seen a little
while ago in 2020:
Corpus Christi
This film is based on true events that took place in Poland. 20-year-old Daniel (Bartosz Bielenia) is imprisoned in a youth detention centre where he finds God. Because of his criminal record, he is unable to join the priesthood.
Released from detention, he is sent to a small, faraway place to work in a woodworking factory. There, he is mistaken for the new clergyman, a role he relishes with fervour. He soon makes his mark on the small town's community and earns the town's respect.
Alas, his past catches up with him.
This powerful and thought-provoking movie, which explores themes of faith, virtue, and forgiveness, left us discussing several 'what if' moments. Bielenia's performance was mesmerisingly fascinating, and the direction was perfect. No wonder it won the Europa Award at the 2019 Venice International Film Festival.
Radioactive
Rosamund Pike convincingly plays Nobel Prize Winner Marie Curie. We follow her passionate journey through her scientific and relationship accomplishments. With determination and tenacity, she paves the way in a male-dominated society to discover radioactivity with her husband, Pierre. Some of the flash forwards depicting the negative results of her research seem a little out of sync. But her work changed and defined the 20th century.
Manon
My friend Kate
organised a group viewing of the filming of Massenet’s opera ‘Manon’, performed by the Orchestre de l’Opéra national de Paris, conducted by Dan Ettinger. Pretty Yende sang Manon and Benjamin Bernheim sang Des Grieux.
While I was familiar
with some of the musical scores, I had not seen Manon before.
Manon flees the confines
of the convent, becomes romantically involved with des Grieux, and then becomes the lover of wealthy de Brétigny. She becomes the belle of late 19th-century Paris society. When she hears that des Grieux is about to join the
priesthood, she persuades him to live with her. To survive, they gamble and get
arrested. She is about to be deported to America, but dies in Des Grieux’s arms
before.
Pretty Yende is true
to her name, not only to look at but in her voice, too. A lavish production with
close-ups of the stars. Even with the best seats of the actual performance, you
could never get as close as the camera does. Interviews with the leading performers
during the interval enhance this cinematic experience. A thoroughly enjoyable afternoon
was had by all.
Never Too Late
Set in a nursing home, this film is supposed to be humorous, but it is not.
Is it the stifled
acting, the caricature-like make-up of Jacki Weaver, the laboured action, or
the obvious outcome in the end? It is probably a combination of all.
The film left me disappointed.
Martin Eden
This film was shown
as part of the Italian Film Festival. I was intrigued by the brochure’s blurb, which describes the film as ‘a passionate and enthralling cinematic achievement
in the tradition of Rossellini and Visconti’. I might have set my expectations
too high as we left the theatre quite nonplussed.
Thirty-something working-class Martin’s encounter with wealthy and well-read Elena inspires him to become
a novelist. Set against Italy’s rising pre-war socialism, Martin’s political
awakening creates a conflict between where he came from and where he aspires to
be. Historical footage from the period is interspersed with the film’s action, and the seemingly random flashbacks to Martin’s earlier years add to the
bewilderment. His sudden rise to author stardom left me unconvinced. Perhaps a more explanatory narrative got lost in translation.
My anticipated enjoyment
reminiscent of the splendour and vision of Visconti’s The Leopard remained
unfulfilled in this film.
Made in Italy
Starring Liam Neeson
with his real-life son Michael Richardson, this light-hearted comedy is set in Tuscany,
where father and son meet to sell the villa inherited from their late wife/mother.
Vibrant locals work together to renovate the home for sale. Unsolved
issues between father and son surface while the son falls for the charms of a
local restaurateur.
The Tuscan background
seemed to be sepia-hued, and I would have liked to have seen more of the region’s
effervescence. Nonetheless, Geoff and I left the theatre in a satisfied and
happy mood, ready to indulge in a bit of delicious pasta
Hope Gap - 22 October
My friend Katalin
chose the movie ‘Hope Gap’ for our recent outing. It stars Annette Bening as
Grace, Bill Nighy as Edward, and Josh O’Connor as their twenty-something son
Jamie. William Nicholson wrote and directed this British drama.
Grace’s overpowering
nature facilitates her blissful ignorance of the family’s waning tolerance
towards her behaviour. She works on a poetry anthology while Edward teaches
history and Josh works as a computer programmer, occasionally visiting from London.
They live in an idyllic English village close to stunning white cliffs.
One weekend, Edward asks
Josh for moral support and to drop by so he can tell Grace that he wants
to leave their marriage of twenty-nine years. Grace convincingly goes through
the phases of the jilted wife: disbelief, denial, acknowledgement, anger, lethargy,
and biting sarcasm. Edward remains politely subdued, while Jamie’s loyalty is
tested by the contest between his parents. The discovery of the new woman, Angela, in Edward’s life presents Grace with a fait accompli, which eventually
enables her to move on.
The acting is
excellent: Annette Bening as the abandoned wife, Bill Nighy as the long-suffering
husband who finally has the courage to be true to himself, and Josh O’Connor as
the tortured offspring.
The film has all the
characteristics of a stage play, with a dialogue that several individuals may well
relate to. I am thinking of Edward’s existential angst that everything he does
is wrong, and that nothing is ever good enough for Grace, while she babbles on
about mundane household issues. A saga concerning two people whose initial
attraction for each other waned over the years to drive them onto a personal
journey that is different from that of their partner’s.
Anna Valdez-Hanks’
cinematography captures the ruggedly beautiful landscape. Alex Heffes’ well-chosen
musical arrangements underscore the enfolding drama.
We left the cinema and
over a cup of coffee discussed animatedly various aspects of the film and pondered
how well a person in their early twenties can foresee their personal growth over
the span of their lifetime.
A
White, White Day - 21 July
Last week, Geoff and I saw the movie A White, White Day. From the opening scene, the
misty and icy atmosphere of the Icelandic landscape envelopes and stays with
you.
Onto the backdrop of the undistinguished white vista, we discover the
Icelandic proverb When everything is white, and there is no difference
between the earth and the sky, it is possible to communicate with the departed.
Edmund Finnis’ discordant score promotes a sense of impending drama.
We watch a car driven too fast through the seemingly impenetrable fog crash over an embankment. Adding to this unsettling mood is the passage of time, as depicted through numerous changing seasons, which focus on a remote barn. The time-lapse camera shots reveal
gradual additions and small changes to this shelter.
We are introduced to widowed police officer
Ingimundur, stoically played by Ingvar Eggert Sigurðsson, and to his loving relationship with his eight-year-old granddaughter, Salka, beautifully and naturally portrayed by Ída Mekkín Hlynsdóttir.
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Ída Mekkín Hlynsdóttir
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Some of Ída’s unaffected behaviour, stemming from a fishing trip, might surprise a culturally sanitised audience, yet in its context, it is tolerable.
While restoring
the barn for his daughter, Ingimundur attends seemingly pointless sessions with
a grief counsellor. Sorting through a box belonging to his late wife, Ingimundur
suspects that she had an affair. He is now charged with a mission that turns
his grief into an obsession to confront the lover. We feel his torment that
wavers between the love for, and the despair over the action of, his departed spouse.
His heart is set on a revenge that spins into a cat-and-mouse game. The
overarching theme of unconditional love is expressed in the purity of his love
for Salka and the more complex feelings towards his deceased partner.
This emotionally multifaceted drama is
set against a foggy landscape that blurs its reality while
explaining the opening Icelandic adage. Still sensing the arctic ambience as we
were leaving the theatre, the affection portrayed between Ingimundur and Salka left
a lingering freshness that seemed to match the landscape.
Ingvar Eggert
Sigurðsson’s excellent performance won him the 2019 TIFF Award for Best
Performance. Hlynur Pálmason is
the Director and Writer whose daughter plays Salka. The film was released in Australia in
May 2020 and is currently screening at the Palace Cinemas.
A
Hidden Life - 30 January 2020
How far would you go to stand up for what you
believe in? How much pain and torture could you endure and still keep your
resistance? To what extent are you prepared to suffer and not waver when all
you have to do is sign a piece of paper denying your personal principles and
swear allegiance to the reigning power?
These ethical questions have existed since
the dawn of humankind. Numerous examples of individuals and even whole
countries are recorded throughout history. I am thinking of political activist
Sophie Scholl in 1943 Nazi Germany, and the small country of Finland, which
resisted and fought off the Soviet invasion during the Winter War of 1939/1940.
The price for these acts of heroic bravery is high. Sophie paid with her life at the age of twenty-one. Finland suffered huge losses and concessions, but both defended their
principles with total conviction and sacrifice.
A Hidden Life, released
in 2019 and filmed in the magical landscape of the Austrian mountains, follows the life of farmer Franz Jägerstätter and his wife, Fani, whose love was rewarded
with three beautiful little girls. We follow their working lives and interactions with other villagers throughout the four seasons. Dark clouds forebode the end of their idyllic existence with the rise of the Third Reich's brownshirts. Drafted into training camp service, Franz questions the motive and
actions requested by the recruits.
Singled out as a non-conformer to a regime he
opposes, the villagers openly express their hate with nasty, petty deeds against
him and his family. Eventually, Franz is arrested and transported to the
headquarters in Berlin. Back home, his wife struggles valiantly, with only her sister's help, to run the farm. Franz's personal conviction not to support a regime he believes is unjust enables him to refuse the offer of freedom by signing a declaration of allegiance to the Führer.
While the consequence of his decision will change their family life forever,
Fani supports and loves Franz regardless of his choice.
I was deeply moved by this film. Indeed, how
far do I value my life when principles are at stake? Fortunately, we are
living, at the moment, in a time and a place where I don't have to make 'live
or die' decisions. Yet, there are numerous issues on the political landscape
that I don't agree with, issues that prompt me to join protest marches, but
faced with possible arrest and punishment, would I still partake in these
actions?
I salute the writer-director Terrence Malick
for making this three-hour tribute to Franz, based on real events, whose core topic is as relevant today as it was in the 1940s. August Diehl and Valerie
Pachner as the Jägerstätters lead an outstanding cast. Michael Nyqvist as Bishop
Fliesser gives his last performance, and Bruno Ganz as Judge Lueben his second
last. The camera captures the enchantment of Austrian rural life, enhanced by James Newton Howard’s hauntingly beautiful score.
2019
Hermitage: The Power of Art - 5 December 2019
I
saw the documentary film Hermitage: The Power of Art with my friend
Katalin this week. Having visited the great art galleries and museums of Paris,
Madrid, Athens, Florence, London, Munich and Berlin, I was really looking
forward to seeing a film about the famed Hermitage. Gorgeously handsome Toni
Servillo introduced us to the history of St Petersburg. I had no idea of its
origin, and the astonishing beauty of this city.
It
was built by Peter the Great, who went for a horse ride to where the Neva River flows into the Baltic Sea. Overwhelmed by the landscape's beauty, he
took in the vista and decided to build a new capital by the sea.
On
top of, and surrounded by marshland and forty-two islands, Peter determined to
create St. Petersburg in 1703. A task, not without great challenges, even if you
are a Tsar. Every stone had to be brought in from the vast lands of Russia by
serfs, of whom more than one hundred thousand died of starvation and exhaustion
during construction.
Peter
brought in the greatest architects and builders from across Europe, mainly from France and Germany, resulting in a city now known as the Venice of the North. A city where anything is but what it
seems to be. It took between sixty and seventy years to create this
architectural ensemble, which consists of buildings of stunning symmetry and
beauty. Four hundred bridges connected this man-made land, on which its major
avenue through the city, the Nevsky Prospect, is four kilometres long.
Peter
established a capital at sea as a centre of political power and intellectual stimulation. He appreciated art and sent teams of experts to collect the great masters of Europe, among whom da Vinci and Rembrandt stood out. The
imperial family lived in the Winter Palace, which would later become the heart of the grand museum open to the public today. While Peter did not
abolish serfdom, he did introduce some social reforms.
Thirty-seven
years after Peter’s reign, Catherine the Great rose to power. She came from a
small German province and was destined to marry Tsar Peter III. While not a
beauty in the traditional sense, she was described as having thin lips and a
protruding chin; she had three more important attributes: she was intelligent, brazen
and curious. Thus, after a very brief period of marriage, she decided that her husband, the Russian heir, was a dummkopf, had him dethroned, and was herself installed in 1762 as empress of the vast empire. Not a mean feat for someone who
was not even a Russian!
Katherine
loved giving in to temptation, her greatest passion: men and art. The latter
is extremely fortunate for those lucky enough to visit the Hermitage today.
She continued to acquire more art treasures, a collection that encompassed more than two hundred paintings from Holland alone, not to mention the greatest masterpieces from Italy, France, Spain, and Germany. Denis Diderot
became her advisor; she acquired his and Voltaire’s libraries. Europe took
notice of Catherine’s court. She built a theatre, in which ballet, opera, and
plays were performed.
Katherine
balanced the budget and modernised the health status for the aristocracy. Her
reign lasted thirty-six years. She was succeeded by Paul I. The now-established imperial custom of collecting artworks continued under him and his
successors.
After
Napoleon's defeat in 1812, Alexander I bought up large sections of the Louvre
collection, including many sculptures. Art and power became synonymous for the
Hermitage. In 1852, Nicholas I opened the Hermitage only to the upper classes.
This was the beginning of the Hermitage's rise to global museum status. Rather than
me naming the painters who were exhibited, imagine any great artist, and you would
have found some of their work at the Hermitage.
Musicians
at that time included Mussorgsky, Rimsky-Korsakov and Borodin, who expressed the
joy and tragedy of their Slavic heritage in their compositions. The intelligentsia
opposed the oppression and inequality of the working classes. The idea of revolution was voiced by poets and writers such as Pushkin, Dostoevsky, Gogol, and Turgenev.
Nicholas II did abolish serfdom, alas, it was too late. The Bolshevik
revolution enforced his abdication in 1917, and the White Army Forces
slaughtered him, his family and all the imperial staff, including their dog.
St
Petersburg was renamed as Leningrad. About 250 of the Hermitage's treasures were sold to wealthy American collectors, who later donated these masterpieces to form the nucleus of the National Gallery of Art in
Washington. During the almost three-year siege of Leningrad, its population was
reduced from four million to two and a half million, due to starvation, illness, and injuries.
But Russia has never been conquered: Charles XII of Sweden invaded in 1708,
Napoleon invaded in 1812, and Hitler invaded in 1941. The Russians retreated until the enemy was exhausted. It has been said that the Russian soul can withstand
anything.
Reverting
to its original name of St Petersburg, the Hermitage continues to collect great works of art, which throughout its history have always been purchased rather than stolen. According to my friend Michele, it would take nine years to look at each painting for one minute. After seeing this film,
I have the strong desire to book a ticket next year from Berlin to visit this amazing
place of phantasmagorical allure.
Pavarotti - 27 October
The other day, Geoff and I watched the documentary Pavarotti, directed by Ron Howard and first
released in the US in June 2019.
Who has not heard of Luciano Pavarotti (1935-2007)? Luciano's career started at a young age when he
sang in the Modena choir, of which his father was also a member. Recognising the
gift of his voice, Pavarotti studied singing and had his first triumph in the role of Rodolfo in La Bohème.
Pavarotti gained worldwide fame for the quality of his tone and his reputation as the 'King of the High Cs'. He sang with Joan Sutherland, with whom he toured Australia. Sutherland's husband Richard Bonynge described Pavarotti's voice as 'one of those freaks of nature that come very rarely in a hundred years'. Bonynge elaborated that his voice 'had a clear, penetrating timbre, alive with the resonance known to singers as "ping." At the same time, it radiated a gorgeously warm romantic sheen.' Pavarotti established himself as one of the finest tenors of his century and performed with sopranos from many countries. He also started recording operas and arias.
The 1990 'The Three Tenors' concert in Rome, conducted by Zubin Mehta, gained worldwide attention. The mesmerising singing of
'O sole mio' by Pavarotti, Jose Carreras and Placido Domingo captivated millions of listeners. The concert's recording became the best-selling classical music album of
all time. Over the next three years, the three tenors performed in more than thirty concerts.
As a performer, Pavarotti was popularised more by touring and singing in venues and arenas that catered for mass audiences. He became a global rockstar. As an
individual, he not only lent emotional support to Carreras when he was
hospitalised, but he also collected and generously gave humanitarian aid during the Bosnian war. He was crushed by injustice and raised money to ban landmines worldwide. Luciano supported charities that helped children in Bosnia, Liberia, Tibet, and Cambodia.
Amongst his singing partners, Bono paid
tribute to Luciano by praising his generosity and the legacy of his philanthropy, and by celebrating the singer's humanity, expressed in every note of his voice.
Music lovers mourned the loss of an amazing
voice when Pavarotti died in 2007 due to pancreatic cancer. Fortunately, there
are many recordings and DVD's to enjoy the performance of an outstanding singer. We left the theatre with the resonance of his voice in our ears and a sense of being enthralled by this amazing human being.
Hearts and Bones - 13 October
As part of the Brisbane International Film Festival (BIFF), my husband and I saw the movie ‘Hearts and Bones’ on Sunday. The film is directed by Ben Lawrence, who made the documentary ‘Ghosthunter’ for which he won the 2018 Sydney Film Festival prize.
An impressive cast, led by Hugo Weaving as war photographer Daniel Fisher, and Andrew Luri as Sudanese immigrant Sebastian Amad, is supported by Hayley McElhinney (Daniel’s partner Josie), and Bolude Watson (Sebastian’s wife Anishka).
Traumatised on his return from yet another war zone assignment, Daniel’s suffering of panic attacks is not lessened by the news that Josie is fourteen weeks pregnant. His mental state is further shaken when Sebastian approaches him with a request not to exhibit photos of the Sudanese Maridi at his forthcoming photo exhibition. Fifteen years ago, Sebastian’s first wife and children were executed in Maridi during a massacre. Anishka, who is pregnant with the couple’s second child, is unaware of her husband’s past.
Daniel is drawn into Sebastian’s world and touched by the magic harmonies of his choir, whose members are immigrants from across Africa and Syria. A friendship develops, and Daniel agrees to consider Sebastian’s request. The revelation of a photo that depicts the Maridi carnage has dramatic consequences.
As a viewer, you are confronted with your own prejudices and the conclusions that can arise when you don't know the full story. The powerful ending, featuring images of refugees fleeing from countries around the world to the song 'Road to Nowhere,’ left many audience members searching for a tissue.
Artistic Director Amanda Slack-Smith made another excellent choice by including this thought-provoking film in the Festival.
1900 - 6 October
As part of the Italian Film Festival, Geoff and I saw the restored version of my favourite film at Palace James Street theatre: Bernardo Bertolucci’s ‘1900’. This film was first released in 1976.
An impressive cast is led by a young and oh so handsome Gérard Depardieu, Robert De Niro, exquisitely bohemian Dominique Sanda and Stefania Sandrelli. They are supported
by Burt Lancaster and Donald Sutherland, in a role that was to haunt me for many years.
As the title suggests, the action spans from the turn of the twentieth century to the end of the Second World War and follows the lives of Alfredo (De Niro), son of the landowning family Berlinghieri, and Olmo (Depardieu), son of the landworking clan Dalcò. Despite their class differences, the boys grew up as friends.
Over the next fifty years, we follow the different paths of
Alfredo, who embraces his socially privileged heritage and Olmo, who fights for
workers’ rights. Set against the historical backdrop of Italian social and political upheaval and the rise of fascism, their values are put into direct conflict.
Bertolucci’s
historical epic (it runs for five and a half hours; we didn’t take any notice
of the man in the foyer who cheerfully predicted that we would not leave the
theatre until Wednesday) is set in a beautiful Italian landscape. The film’s opening
credits significantly depicts Guiseppe Pellizza da Volpedo’s huge painting ‘The
Fourth Estate’, the symbol for Italy’s socialist and progressive development,
which is also the backdrop of the poster.
Geoff and I have seen the original
painting in Milan.
The musical score by Ennio Morricone sweepingly underscores the
film’s narrative, rising from intimate clarinet passages to
joyful peasant tunes. It is an orchestral work that holds its own.
I did actually see the film
again on Wednesday at the Palace Barracks. There I met a lady who bought the
DVD and saw it many times. Guess what I’ll be buying next?! But I won’t audition
for Hard Quiz!
Measure for Measure - 4 October 2019
Last Friday, my daughter and I saw the Australian film ‘Measure for Measure’ as part of BIFF at GOMA. After the screening, we enjoyed a panel discussion.
The film is loosely based on Shakespeare’s eponymous play. The setting is transposed into present-day working-class Melbourne. Against a backdrop of gang rivalry, drug dealing, and immigrants, the eternal motifs of love, justice, revenge and loyalty are explored.
Hugo Weaving, brilliant as Duke, is a crime lord on the verge of retirement. He is ably supported by a wonderful cast of young actors, led by Megan Hajjar as Jaiwara, Harrison Gilbertson as Claudio, and Mark Leonard Winter as Angelo. Ian Jones’ stunning cinematography, enhanced by Tristan Dewey’s and Tai Jordan’s gritty soundtrack underscore the moody atmosphere of the film’s themes. Sitting on the edge of our seats, we were captivated by this gem of a film.
After the screening director Paul Ireland and casting director Thea McLeod paid a heartfelt tribute to co-scriptwriter Damian Hill, who passed away days before shooting began. Gaining a glimpse behind the scenes of this outstanding film enriched the screening.
By including this film in the BIFF program, Amanda Slack-Smith allowed us exclusive access to a movie that is not due for its Australian release until April 2020.
There is one more screening in Brisbane on Saturday, 12 October.
2017
Loving Vincent - 24 November 2017
If you love Vincent van Gogh’s paintings, you’ll love ‘Loving Vincent’. This enchanting animated film portrays the life and death of Vincent Van Gogh and the stories behind some of his most famous paintings.
As you focus on one of the bold brushstrokes of a green bush, it comes alive; you are there, hidden in the swaying yellow field of wheat. Your gaze follows the gentle wind to the distant Cyprus. Blue-grey clouds are changing their shape above. A figure, at first hidden, materialises life-size onto the screen. Of course, almost forgot: you are in a movie theatre, looking at a screen.
The film's narrative takes place after Vincent's death. The postmaster’s son is on a mission to deliver a letter to Theo, Vincent’s brother. Intrigued by the conflicting accounts surrounding Vincent’s death, the son’s journey takes him through Vincent’s life and paintings. The paintings range from Vincent’s bedroom in Arles, Toulouse Lautrec’s Moulin Rouge, the landscape behind Saint-Paul Hospital, the Terrace Café at night and of course the Starry Night over the Rhone, to name just a few. Vincent fans are treated to a sumptuous journey of visual delight. To think that of the 800 paintings, he only sold one. Makes you pause and contemplate, doesn’t it?
Over one hundred animators worked on this amazing Polish co-production. Actors such as Douglas Booth, Saoirse Ronan, Aidan Turner, Jerome Flynn and Chris O’Dowd lent their voices. The directors are Dorota Kobiela and Hugh Welchman. It was first released in the UK in 2017. The film runs for one hour and thirty-five minutes. It is screening currently in Brisbane.
by Burt Lancaster and Donald Sutherland, in a role that was to haunt me for many years. 
