Film Notes Summary
A World Apart
Made in 1988 by Chris Menges in England.
Chris Menges is a contemporary director and cinematographer known for his visually striking films. He has directed only four movies, focusing primarily on cinematography.
The film is fictionalized but closely based on the true story of the independence struggle in South Africa during the 1960s.
Shawn Slovo's character, Molly, is a representation of the real Shawn Slovo, the screenwriter's own experiences growing up in South Africa during this tumultuous period.
The farewell kiss scene between Molly's parents signifies the sacrifices and difficult choices they face due to their political activism. Her father must leave the country to avoid imprisonment because of his political beliefs and involvement in anti-apartheid activities.
Molly's perspective is unique among the white children in the film because her parents are actively involved in the political movement against apartheid. This exposes her to the realities of racial inequality and injustice in South Africa, shaping her understanding of the world.
The mother, Diana, is deeply committed to her political work and may sometimes seem detached from Molly's emotional needs and concerns about the political atmosphere. This creates a strained dynamic between them, as Molly struggles to understand her mother's priorities.
Molly is curious about her mother's activism, and her brother also participates in the movement. However, their relationship is complicated by the political tensions and the risks associated with their involvement.
Elsie, the housekeeper, forms a close bond with Molly, offering her love and support. Elsie's own longing for her family creates a shared sense of loss and connection between her and Molly, further highlighting the impact of apartheid on personal relationships.
Motifs in A World Apart
Party scenes:
Diana's birthday party is depicted as a diverse gathering, with both white and Black people in attendance. This symbolizes the possibility of racial integration and unity, although it is disrupted by the intrusion of the police.
Molly attends a birthday party for her friend's mother, where the guests are exclusively white, and Black workers serve them. This stark contrast underscores the racial segregation and inequality prevalent in South African society at the time.
Diana's birthday celebration is abruptly interrupted by a police search, highlighting the ever-present threat of state repression and surveillance faced by political activists.
Molly experiences a sense of abandonment due to her parents' involvement in political activism, causing her to feel neglected and longing for their attention and affection.
While imprisoned, Diana is denied access to reading and writing materials, except for the Bible. This restriction symbolizes the attempt by the apartheid regime to suppress knowledge and limit the intellectual freedom of political prisoners.
The film emphasizes the importance of being able to read newspapers and understand current events as a means of staying informed and resisting oppression.
Molly is encouraged by her mother to channel her pain and suffering into resistance against their oppressors, rather than succumbing to despair. This message underscores the importance of resilience and defiance in the face of injustice.
The film incorporates both the white national anthem and the South African anthem (associated with the Black liberation movement) as motifs representing the conflicting ideologies and identities within the country. Elsie takes Molly to church, where they sing the South African anthem, further emphasizing its significance.
Tell No One (2006)
Directed by Gillumet Canet. Filipe appears in flashbacks, suggesting his past actions and their impact on the present.
Themes: Lies and Secrecy:
The film explores how lies and secrets can unravel relationships and lead to unexpected consequences, as characters conceal truths to protect themselves or others.
Acting out of love to protect their children:
Parents in the film make difficult choices and take extreme measures to safeguard their children, even if it means resorting to deception or violence.
Nowville's actions are motivated by a desire to avenge his son's death, leading him to commit further acts of violence in an attempt to kill Margot. This cycle of revenge drives much of the plot.
Margot's father deliberately misled Alexandre into believing that his wife was dead for over a decade, showcasing the extent of his deception and its profound impact on Alexandre's life.
His involvement with Nouville has corrupted him, blurring the lines between justice and criminality. He becomes a villainous figure who is willing to kill in order to protect his daughter.
'Tell No One' delves into Alexandre's grief and enduring love for his wife Margot, inviting the audience to empathize with his actions despite their moral complexities. The film repeatedly revisits the pivotal plot scene, emphasizing its significance in shaping the characters' fates.
The opening scene sets the stage for misunderstandings and mistaken assumptions, particularly regarding Alexandre and Margot's desire to have children, which influences the subsequent events.
Parental Love:
Parental love serves as a central theme, driving the characters' decisions and actions throughout the film. Parents are willing to go to great lengths to protect their children, even at great personal cost.
Bruno (gang leader with a child):
Bruno's actions toward Alexandre are motivated by gratitude for saving his son, illustrating the depth of parental love and the lengths to which parents will go to repay such debts.
Margot and Alexandre's marriage is depicted as loving and devoted, adding emotional weight to the tragedy that befalls them and underscoring the strength of their bond.
The marriage between Alexandre's sister and his wife is loving but imperfect, reflecting the complexities and challenges inherent in human relationships.
Plot:
The narrative unfolds primarily from Alexandre's perspective, portraying him as innocent and emphasizing his efforts to uncover the truth surrounding his wife's death. The 8th period setting adds a layer of mystery and intrigue to the investigation.
Alexandre experiences vivid premonitions and continues to commemorate the anniversary of his wife's death, highlighting his enduring grief and refusal to let go of the past. Martin (Margot's mother) and Eliene urge him to move on, but he remains fixated on uncovering the truth.
On the 8th anniversary of Margot's death, Alexandre discovers a video clip of her looking directly at the camera, reigniting his hope and fueling his determination to find out what really happened.
Alexandre's sister works as an equestrian, while Margot worked as a therapist for a children's team, creating a sense of irony given Fillipe's abusive behavior toward children.
The police find incriminating pictures of Margot badly beaten, leading them to suspect Alexandre of her murder, despite his alibi and the fact that he was completing his residency at the time.
Charlotte withholds crucial information about the pictures at Margot's request, contributing to the atmosphere of lies and secrets that permeate the film.
Jaque falsely claims that Margot had been killed, further complicating the investigation and fueling Alexandre's suspicions.
Jaque suggests that Alex is dead because he believes his daughter would never abandon him, highlighting the depth of his paternal love and his unwillingness to accept her death.
The police investigation involves 45 cops and a lawyer named Jack, who initially assume Alex is the killer. However, one detective raises doubts about why Alex would retain the murder weapon if he were truly guilty.
Alexandre has a clandestine meeting at Park Marso, where he catches a glimpse of a woman whose legs and face are hidden behind sunglasses, stirring intense emotions within him.
The story primarily revolves around fathers and the extreme measures they are willing to take to protect their children, showcasing the complexities and sacrifices inherent in parental love.
The truth is ultimately revealed: Margot killed Filipe, adding a shocking twist to the narrative and challenging viewers' assumptions about the characters' motives.
Hope and Glory (1987)
Directed by John Boorman, set in London during World War II. Boorman draws upon his own childhood experiences to create an autobiographical and poignant portrayal of life during wartime.
Styles of movies: poetic realism and realism with something to add (usually expression or surrealism). In Hope and Glory, expressionism is used through the eyes of a young boy named Billy, who is living through World War II in England. This perspective shapes the narrative and offers a unique viewpoint on the conflict.
Boorman is retired; this is his most beloved movie. Sequel Queen and Country - autobiographical. The sequel further explores Boorman's life experiences and provides additional insights into the events depicted in Hope and Glory.
Hope and Glory is the emotional viewpoint of Billy and the women in his life. The film focuses on their experiences, struggles, and resilience amidst the chaos of war.
The movie takes place in suburban England, where the family resides for the first half of the film. Later, the mother decides to evacuate Billy and Suzie to Austria, but ultimately changes her mind, reflecting the uncertainty and anxiety of wartime decisions.
In the second half of the movie, the family is forced to live with their grandparents after their house is destroyed in a bombing raid. This displacement disrupts their lives and forces them to adapt to new circumstances.
Dawn, the older sister, becomes pregnant after entering into a relationship with a soldier. This storyline explores the themes of young love, wartime romances, and the challenges faced by women during the conflict.
This movie is set in a romantic portrayal of wartime. Despite the hardships and dangers of war, the film emphasizes moments of joy, camaraderie, and resilience, offering a nostalgic and affectionate depiction of the era.
In these movies, the Boormans constantly faced the bombing with a high attitude, optimistic, and comical. The family's ability to maintain a sense of humor and optimism in the face of adversity serves as a testament to the human spirit.
The director sets the movie up by beginning this process when the children ignore the news about the war.
The voice-over states "that the war was all words, no action," reflecting the children's initial detachment from the conflict.
"All the Sunday lawn movers had gone silent," indicating the disruption of everyday life caused by the war.
Both sisters pay no mind, highlighting the director's use of cliches to showcase the children's naivete and innocence.
"How can they start the war after such a nice day?" This line exemplifies the absurdity of war and the disconnect between the idyllic setting and the harsh reality of the conflict.
The adults always seem sappy; Clive and Grace are stylized in Billy's eyes, suggesting his idealized perception of them as figures of authority and stability.
Billy dreams of a horrific war scene where his father and uncle are killed during battle, reflecting his growing awareness of the dangers and potential losses associated with the war.
Air raids become an integral part of life, and Dawn brings a comic personality to the situation, dancing during the bombings to lighten the mood and defy the fear.
(44) Everything about Billy's school is cruel, and the headmasters wants them to be alter and act like soldiers makes do time tables during an air race, and they were wearing gas masks "that make them sound like farts." This scene satirizes the militaristic atmosphere of wartime schools and the absurdity of preparing children for combat.
(65) Billy is fascinated by shareware. The war is like a playground for the young boys (Rogers Gang), the evident, but then the hang allows Billy to become part of it by sweating. This portrayal highlights the children's ability to find excitement and adventure amidst the chaos of war.
(isle) The entrance by the German percbutesses is fascinating because the community has never seen a German before. When he leaves with the cop, the women are excited by & the silk. When Clive returns home with Jam, nobody hears it. This scene underscores the cultural fascination with the exotic and the unfamiliar during wartime.
(17) Dawn and Bruce are very unconventional; they meet at a glance, setting the tone for their relationship. Their whirlwind romance and unconventional behavior reflect the changing social norms and attitudes of the time.
Bruce is playful and Clownish. Dawn and Grace had a long, drawn-out fight in which they collapsed into each other's arms. Dawn Sneeks Bruce into the house, where they have sex. Their romance is very sappy. This portrayal of young love emphasizes the spontaneity and intensity of wartime relationships.
When Bruce gives Dawn a ring to wait for him, but they have a fight, and he leaves. This scene reflects the uncertainty and transience of wartime relationships, as well as the challenges of maintaining connections amidst the chaos of conflict.
(8) The neighborhood loves
(9) No patriarchal ritual is safe-> Christmas time, where they listen to King George's speech (new year). The disruption of traditional rituals and customs symbolizes the broader societal upheaval caused by the war.
Bruce comes in not understanding what is happening. The Grandfather makes a toast to all the women he has slept with before they got married. This scene challenges conventional notions of morality and decorum, reflecting the changing social values of the time.
(410) The house was on fire
Tone - movie is complex, codmiclic + provides another emotional feeling during war time. The film blends elements of comedy, drama, and nostalgia to create a multifaceted portrayal of life during World War II.
Googly -> Dawn's delight of the bomb rain at night, but a bomb does break down next to them. This juxtaposition of wonder and danger underscores the children's resilience and ability to find joy amidst the chaos of war.
The bomb next to the house, Dawn thinks Grace doesn't love her. In the morning, Pauline's mother has died, & the Children made them aware of this. This scene highlights the emotional toll of war, as well as the children's growing awareness of mortality and loss.
Pauline comes in again -> when she is found by the boys, when she left the peak in her underwear. This moment adds a touch of humor and absurdity to the narrative, while also underscoring the children's innocence and naivete.
The next time Billy catches two people having sex > Dawn - Brice, he is angry. This scene reflects Billy's growing awareness of sexuality and his discomfort with the adult world.
The boys go into the house that has burned down, & they are breaking more stuff. This act of vandalism symbolizes the children's rebellion against authority and their frustration with the destruction caused by the war.
Last 3rd part of the movie - on the riverbank. Female strands Billy & doesn't have his father: Idyll - Paradise. The film concludes with a sense of hope and renewal, as Billy finds solace in nature and begins to come to terms with the changes in his life.
Dawn is expecting Bruce's baby. The grandfather has a drastic character. Boorman is giving constant scary encounters, but it becomes a funny moment
Phoenix (2013)
A film made in Germany by Christian Petzold. Petzold is known for his exploration of German history and identity through the lens of personal stories.
Mythical bird that went up in flames & rose from the ashes. The phoenix serves as a metaphor for Nelly's resilience and transformation after surviving the Holocaust.
Nelly Lenz, who survives the west camp (confrontations), was either beaten up or experimented on. Nelly's experiences in the concentration camp have left her physically and emotionally scarred.
She left, moved to Berlin with a friend & found her husband (not a Jew). Nelly's decision to return to Berlin and seek out her husband reflects her desire to reclaim her past and rebuild her life.
Her friend is clearly in love with Nelly and wants to move in with her (Leina). Leina's unrequited love for Nelly adds another layer of complexity to their relationship.
Leina arranges for the face to be reconstructed, and the doctor asks who Nelly wants to look like, but she says she wants to look like herself, but she can't look like herself initially, so she ends up looking like a ghost of herself. Nelly's insistence on restoring her original appearance underscores her determination to reclaim her identity, but the reconstruction process yields imperfect results.
She insists that she no longer exists because her face has been changed & the symbols of her old life are destroyed. Nelly's sense of alienation and displacement is heightened by the disfigurement of her face and the loss of her former life.
Leina believes that Johnny (Nelly husband) gave up Nelly to the Nazis, but Nelly ends finding him working at a restaurant. Leina's suspicion casts doubt on Johnny's loyalty and raises questions about his role in Nelly's capture.
Weimar - before the Nazis had came into power.
Karbarett-> kind of review that is Satirical, politically induced.
Vikki - Lola sings a song in German + English (another song by Kurt Weill), which was made in 1928 for a production play.
Pestal uses well music as a type of motif in this movie, Speak Low is the anthem - beginning and played at the end of the movie. The recurring use of the song "Speak Low" serves as a motif that underscores the themes of love, loss, and longing.
Johnny doesn't recognize Nelly - he thinks she looks like her. Johnny's failure to recognize his own wife creates a sense of unease and highlights the transformative effects of trauma.
He makes her play Nelly so that he can get Nelly's money. Even her voice seems to be different because of the horrors of her life. Johnny's exploitation of Nelly adds a layer of betrayal and moral ambiguity to the narrative.
Bother is the name Nelly gives herself to help Johnny; she thinks this will help him fall in love with her. Nelly's willingness to deceive Johnny and play a role in his scheme speaks to her desperation to reconnect with him and reclaim her identity.
Bleing finds Johnny in the office to find Nelly's family. This movie is a famous representation of Hitchcock's film Vertigo (1958). The film's plot and themes bear similarities to Hitchcock's Vertigo, including themes of identity, deception, and obsession.
The people end up throwing Johnny out of the office
(15) Nelly is going along with Johnny Skeem, but she doesn't understand that he is using her; she must tell her life story. Nelly's naivete and vulnerability make her an easy target for Johnny's manipulations.
Johnny doesn't want that; instead wants, and Nelly needs to showcase herself as a beautiful and happy person. Johnny's desire to recreate a idealized version of Nelly reflects his own denial and inability to confront the truth of her experiences.
She says, "Do you recognize me?"->which leaves him unsteady. Nelly's question challenges Johnny's perception of reality and forces him to confront the truth of her identity.
She doesn't like how she is becoming more and more like Nelly, and she is pleased and blissful. Nelly's complex emotions reflect her struggle to reconcile her past and present selves.
When Nelly holds on to Johnny when they are driving on the motorcycle-> Speak Low is playing in the background. The use of "Speak Low" during this scene reinforces the themes of longing and desire that permeate the film.
Bitina Leny ends up killing herself because of the horror and the sadness of the identification of being a Jew (Survivors quilt). Bitina's suicide underscores the devastating impact of the Holocaust on Jewish survivors.
Romantic melodrama w/ a sinster fim neur-sexpressionism is used. The film blends elements of romance, melodrama, and film noir to create a visually and emotionally compelling narrative.
Johnny's document of Johnny was not her husband anymore, very doesn't read it relatively fast
Johnny thinks to cut her arm with the number on it, but he doesn't know she has a number on her arm -> in which she ends