Bloody Sunday

Posted on December 13, 2002 at 5:18 am

On January 30, 1972, thousands of civil rights demonstrators in Derry (Londonderry), Ireland, held a rally to protest the British Government’s use of internment without due process in Northern Ireland. British military forces were ordered into the unarmed crowd to capture some of the rowdier youths. What followed has been the subject of great debate and a well-known U2 song, but amidst the confusion, the army opened fire on the protestors, killing thirteen and wounding fourteen others. The day became a turning point for the Northern Irish “Troubles” and is attributed with inspiring thousands of new volunteers to the Irish Republican Army (IRA).

As far as subject matter is concerned, many people are more familiar with the U2 song than they are with the actual event or the factors that led to the day. This movie takes a turn at correcting this imbalance by recounting what happened on Bloody Sunday in a powerfully realistic half- drama, half-documentary.

Five characters represent the major forces of the day: a reluctant protest organizer and popular local –Protestant—politician, Ivan Cooper (a mesmerizing performance by James Nesbitt); a seventeen year old Catholic boy, just out of jail and torn between protesting and staying out of trouble, Gerry Donaghy (Declan Duddly); the radioman whose shock and disgust with his fellow soldiers is pitted against his loyalty to the unit, Soldier 027 (Mike Edwards); the dutiful but sympathetically human Brigadier, Patrick MacLellan (Nicholas Farrell); and, the unbending imperialist with the order to end the unrest, Major General Ford (Tim Pigott-Smith). However, it is in the faces of those around these characters where so much of the event is framed: the subtle shift of expression on the face of the Captain of the local police force as the Major General orders soldiers into position; the desperate grimace of an unnamed man as he rushes to resuscitate a corpse; the vacant eyed shock of a man learning of the death of a loved one beneath iridescent hospital lights.

Director Paul Greengrass does an excellent job at crafting a documentary feel for the story, complete with grainy film, jumpy shots, wavering sound and naturally gray light. Reportedly, Greengrass sought out people who were there on January 30th –those who lost loved ones as well as soldiers and bystanders—casting them as extras to add to the verisimilitude. The dialogue might be hard to follow between strong accents and a shifting aural perspective but the result is so realistic that the abrupt ringing of the phone or the crack of gun fire makes you flinch.

Not allowing the viewer to be passive, the movie catches us up in this pivotal day in Ireland’s history. Greengrass chooses not to review events leading to Bloody Sunday beyond passing references, however the moment itself is caught with a moving clarity: whether you agree with Greengrass’ portrayal of controversial events or not, he does a good job of capturing the feel of a society in flux during the early 1970’s and portraying the plight of Derry’s denizens. And, yes, they do play U2’s “Sunday Bloody Sunday” as the credits roll.

Parents should know that this movie depicts a tragic, violent event. The graphic shooting of unarmed protestors is very disturbing and the ensuing images including mayhem and grieving are likely to terrify younger children. Young adults accustomed to Hollywood’s comic book portrayal of violence are likely to be disturbed by the events so realistically framed on 35mm film.

Families who see this film could be discussing it for days. First, from a historical perspective, families might wish to talk about how this movie relates to current news stories about the Troubles in Northern Ireland. Both the Major General and the protest organizers work as much as possible with the media. How is the debate being presented to the court of public opinion? How has this changed since Bloody Sunday? When Ivan says that the IRA scored its biggest victory on Bloody Sunday, what does he mean?

Second, families may wish to discuss the ramifications of having military forces in populations that are predominately civilian. For some historical perspective, the paratrooper unit responsible for firing on the crowd –the First Battalion Parachute Regiment—was created in 1940 by Sir Winston Churchill, gaining the nickname “Red Devils” during fighting in Northern Africa, Sicily and France during WWII. In the years before being stationed in Northern Ireland, they were stationed in the Middle East, Aden, Cyprus and other hotspots. With a respected history in combat, the First Battalion considered themselves part of Britain’s fighting elite. Why would this group –trained to face armed enemies—be given a peacekeeping role in Ireland? What friction exists between the Regiment and the local police? What are their respective goals and responsibilities? What lessons might there be for us regarding troops in other urban situations, such as the Balkans or the Middle East?

Greengrass has chosen to film this account with a distinctly “documentary” camera style, intended to make an audience feel like they are there as a witness to history. As a brief notice in the credits mentions, the movie is based on events that did occur, however many of the conversations and characters were created for the purpose of the story. Is it important to the story that the audience think of this film as a documentary? If so, what issues might this raise for Greengrass or other filmmakers when they are presenting stories based on controversial events?

Families who are interested in seeing more on non-violent protest and the difficulties of maintaining peaceful demonstrations in the face of force might wish to watch “Gandhi” (1982). For those who are interested in the theme of mismatch between military units and the political objectives asked of them, “Black Hawk Down” (2001) might be of interest. Those who are interested in seeing more on the Irish Troubles might be interested in director Jim Sheridan’s 1990’s trilogy (“In the Name of the Father”; “Some Mother’s Son”; and, “The Boxer”) or Neil Jordan’s “Michael Collins” (1996). For families who wish to see James Nesbitt in a vastly different role, “Waking Ned Devine” is a lighthearted look at an isolated Irish town far away from Bloody Sunday and, indeed, from any troubles at all.

Related Tags:

Based on a true story Drama

Mary Poppins

Posted on December 13, 2002 at 5:18 am

A+

Lowest Recommended Age:	Kindergarten - 3rd Grade
MPAA Rating:	G
Profanity:	None
Alcohol/ Drugs:	None
Violence/ Scariness:	None
Diversity Issues:	The cause of votes for women is presented as unimportant, even daffy; subtext that parents should spend time with their children in
Date Released to Theaters:	1964
Date Released to DVD:	December 09, 2013
Amazon.com ASIN:	B00E9ZAT4Y

In honor of the upcoming “Saving Mr. Banks” and the 50th anniversary of the original film, Disney is releasing a superclifragilisticexplialidocious new edition of Mary Poppins.

Based on books by P.L. Travers (whose reluctance to allow a film to be made is the subject of “Saving Mr. Banks,” the film switches the 1930’s-era setting to the more picturesque London of 1910, where the Banks family has a loving, if rather chaotic, household. A nanny has just stormed out, fed up with the “incorrigible” children, Jane and Michael. Mr. Banks (David Tomlinson) writes an ad for a new nanny and the children compose their own, which he tears up and throws into the fireplace. The pieces fly up the chimney, where they reassemble for Mary Poppins (Julie Andrews), who is sitting on a cloud. The next day, a great wind blows away all of the nannies waiting to be interviewed, as Mary floats down.

Somehow, she has a mended copy of the qualifications written by the children that Mr. Banks tore up and threw into the fireplace. To the children’s astonishment, she slides up the banister.Out of her magically capacious carpetbag she takes out a tape measure to determine the measure of the children (“stubborn and suspicious” and “prone to giggling and not tidying up”) and her own (“practically perfect in every way”). She directs them to clean up the nursery, and shows them how to make it into a game (“A Spoonful of Sugar Helps the Medicine Go Down”). Once it is clean, they go out for a walk, and they meet Mary Poppins’ friend Bert (Dick Van Dyke) drawing chalk pictures on the sidewalk. They hop into the picture and have a lovely time, or, rather, a “Jolly Holiday” in a mixture of live-action and animation that has Bert dancing with carousel horses and penguins.

Mary takes the children ato see her Uncle Arthur (Ed Wynn), who floats up to the ceiling when he laughs, and they find this delightfully buoyant condition is catching. Later, Mr. Banks takes the children to the bank where he works, and Michael embarasses him by refusing to deposit his tuppence because he wants to use it to buy crumbs to feed the birds. There is a misunderstanding, and this starts a run on the bank, with everyone taking out their money. Mr. Banks is fired.

Mr. Banks realizes that he has been too rigid and demanding. He invites the children to fly a kite with him. Mrs. Banks realizes that in working for the vote for women, she had neglected the children. Her work done, Mary Poppins says goodbye, and floats away.

This sumptuous production deserved its many awards (including Oscars for Andrews and for “Chim Chimeree” as best song) and its enormous box office. It is fresh and imaginative, and the performances are outstanding. (Watch the credits carefully to see that Van Dyke also plays the rubber-limbed Mr. Dawes.) The “jolly holiday” sequence, featuring the live-action characters interacting with animated ones, is superb, especially Van Dyke’s dance with the penguin waiters.

The resolution may grate a bit for today’s families with two working parents, but the real lesson is that parents should take time to enjoy their children, not that they should forego all other interests and responsibilities to spend all of their time with them.

Family discussion: If you were writing a job notice for a nanny, what would it include? Which of the children’s adventures did you most enjoy and why?

If you like this, try: books by P.L. Travers and the documentary about this film’s Oscar-winning song-writers, The Boys: The Sherman Brothers’ Story. And go fly a kite!

I Love You Again

Posted on December 13, 2002 at 5:17 am

Prissy, stingy Larry Wilson (William Powell) bores everyone aboard ship on his way back to the United States from a business trip. When Ryan, a fellow passenger, falls overboard, Larry is accidentally knocked overboard trying to save him. Hit on the head, he comes to as George Carey, a smooth con man whose last memory is of a train ride nine years before, when someone stole the money he was taking to bet on a fight. He has no recollection of his life as Larry, in a small town called Habersville. When he finds “Larry’s” bank book with a substantial balance, he and Ryan decide to visit Habersville to get as much of it as they can.

At the dock, they are met by Larry’s wife, Kay (Myrna Loy). Carey is smitten with her, but she has come to get him to agree to a divorce. They go back to Habersville together, where Carey and Ryan plan an elaborate swindle, with the help of Carey’s former partner, Duke. Constantly confronted with people and questions he cannot remember, Carey manages to fake his way through, even on a hilarious hike with a Scout-like troop of boys. Kay begins to warm to him, and, when she finds out the truth from Ryan, she remains loyal. Carey tries to call off the swindle, and when that does not work, resolves everything with his last con job, happily looking forward to staying in Habersville with Kay.

Powell and Loy appeared in more films together than any screen couple since the silents, and this delightful romantic comedy is one of their best films. Carey’s horror as he finds out more and more about his life as “Larry” is balanced by Powell with smooth maneuvering to keep everyone from finding out that he can’t remember anything about his life in Habersville. Loy is, as always, “the perfect wife,” witty, wise and loyal — she sees the essence of the truth and is adorably charmed by it.

Amnesia of this kind occurs only in the movies (and in soap operas). Even though it makes no sense medically, it does make sense dramatically. When Carey was hit on the head in a robbery nine years before, he became Larry, the boring businessman. It had to be because, at some level, a part of him wanted a “respectable life.” At the end, he is neither Carey nor Larry, but a synthesis of both, ready to stay in Habersville with Kay and live happily ever after. Kay’s motives are also justified. She married a bore like Larry because, as she says, she saw something exciting behind his eyes. She was the only one who glimpsed Carey inside of the stiff and proper Larry. And she also sees Carey at his best. When she says he is noble and honest, she turns out to be right.

Questions for Kids:

· What does Carey do to convince everyone that he is Larry, and that he remembers his life in Habersville?

· When is he closest to being found out, and how does he handle it?

· How does he con Duke into letting him out of the swindle?

· What do you think will happen after Duke leaves with the money?

· Will Carey be at all like Larry in the future? How?

Connections: As in “The Music Man,” this is a story about a con man who comes to a small town and is redeemed by love. Another movie with a funny scene involving a counterfeit Scout leader is “It’s a Wonderful World,” with Jimmy Stewart and Claudette Colbert, and also directed by W.S. Van Dyke. A romantic drama about amnesia is “Random Harvest,” in which Greer Garson marries Ronald Coleman, who has forgotten his past, and loses him when he remembers it.

Any of the Powell and Loy movies are a pleasure to watch, especially “The Thin Man” series and “Libeled Lady.” Harkspur, Jr. is played by Carl “Alfalfa” Switzer of “Our Gang.”

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Comedy For the Whole Family Romance

Friendly Persuasion

Posted on December 13, 2002 at 5:17 am

Plot: This is the story of the Birdwells, a loving Quaker family in the midst of the Civil War. Eliza (Dorothy McGuire), a devout woman, is the moral center of the family. Jess (Gary Cooper) is a thoughtful man, not as strict as Eliza on prohibitions like music and racing his horse, but with a strong commitment to his principles. Their children are Joshua (Anthony Perkins), a sensitive young man who opposes violence but feels that he must join the soldiers; Mattie (Phyllis Love), who falls in love with Gord, a neighbor who is a Union soldier; and Young Jess, a boy who is fascinated with the talk of war and battles.

A Union soldier comes to the Quaker prayer meeting to ask the men to join the army. They tell him that they cannot engage in violence under any circumstances. “We are opposed to slavery, but do not think it right to kill one man to free another.” Even when the soldier points out that this means others will be dying to protect their lives and property, no one will support him.

The Confederate army approaches, and Joshua and Enoch, a freed slave who works on the Birdwell’s farm, decide to join the Union. Eliza does everything she can to keep Joshua from going, even telling him that in doing so he will not only reject what he has learned in church but he will reject her, too. Jess says that Joshua has to make up his own mind. “I’m just his father, Eliza. I’m not his conscience. A man’s life ain’t worth a hill of beans unless he lives up to his own conscience. I’ve got to give Josh that chance.” Joshua prays for guidance, and leaves to join the army the next morning. At first Eliza won’t respond, but then she runs after him to wish him well.

As the war gets closer, Jess and Eliza refuse to run away from their farm as others are doing. When Josh’s horse comes back without him, Jess goes looking for him. He finds his good friend Sam mortally wounded by a sniper. When the sniper shoots at Jess, too, Jess takes his gun away, but will not harm him; he tells the sniper, “Go on, get! I’ll not harm thee.” Josh is wounded, and deeply upset because he killed a Confederate soldier. Jess brings him home.

In the meantime, the Confederates ride into the farm, and in keeping with her faith, Eliza welcomes them and gives them all her food. But when one of the soldiers goes after her beloved pet goose, she whacks him with the broom, amusing her children and leaving herself disconcerted and embarassed. Jess and Josh return, and the family goes off to church together, to continue to do their best to match their faith to their times.

Discussion: This is an exceptional depiction of a loving family, particularly for the way that Jess and Eliza work together on resolving their conflicts. They listen to each other with enormous respect and deep affection. Jess does his best to go along with Eliza’s stricter views on observance, because in his heart he believes she is right. Nevertheless, he cannot keep himself from trying to have his horse beat Sam’s as they go to church on Sunday, and he decides to buy an organ knowing that she will object. In fact, he doesn’t even tell her about it. She is shocked when it arrives and says that she forbids it, to which he replies mildly, “When thee asks or suggests, I am like putty in thy hands, but when thee forbids, thee is barking up the wrong tree.” Having said that if the organ goes into the house, she will not stay there, she goes off to sleep in the barn. He does not object — but he goes out there to spend the night with her, and they reconcile and find a way to compromise.

All of this provides a counterpoint to more serious questions of faith and conscience. In the beginning, when the Union soldier asks the Quakers if any of them will join him, one man stands up to say that nothing could ever make him fight. Later, when his barn is burned, he is the first to take up a gun. Even Eliza, able to offer hospitality to the same men who may have just been shooting at her son, finds herself overcome when one of them captures her beloved pet goose.

Jess is willing to admit that the answer is not so simple. All he asks is that “the will of God be revealed to us and we be given the strength to follow his will.” He understands the difficulty of finding the right answer for himself and for Joshua. He resolves it for himself in his treatment of the sniper, and he respects Joshua and the issues involved enough to let Joshua make his own choice.

The movie is a rare one in which someone makes a moral choice through prayer, which many families will find worth emphasizing. Josh, who was able to respond without violence to the thugs at the fair, decides that he cannot benefit from risks taken by others unless he is willing to take them, too. He cries in battle, but he shoots.

The issue of how someone committed to non-violence responds to a violent world is thoughtfully raised by this movie.

Questions for Kids:

· How is the religious service in the movie similar or different from what you have experienced?

· How was the faith of the characters tested in this movie? What did they learn from the test?

· How should people who are opposed to violence respond to violence when it is directed against them? When it is directed against others?

Connections: The screenplay was written by Michael Wilson, who received no screen credit because he was blacklisted during the Red Scare. His involvement makes the issues of conscience raised in the book even more poignant. The book on which the movie is based, by Jessamyn West (a Quaker, and a cousin of Richard Nixon) is well worth reading. Cooper faces some of the same issues (and has a Society of Friends bride) in “High Noon.” “Shenandoah,” with Jimmy Stewart as the father of a large family who tries to keep his sons out of the Civil War, raises some of the same themes without the religious context. It later became a successful Broadway musical.

Enigma

Posted on December 13, 2002 at 5:17 am

One of the most important contributions to the Allied victory in World War II was a code-breaking operation that was so secret it was not revealed until 30 years later. Their deciphering of the Enigma code developed by the Germans shortened the war by as much as a year.

This is the story of the people who worked at a huge and historic estate called Bletchley to unlock the unlockable. They had to solve a puzzle considered impenetrable because it was so complex that it could never have been decoded by the human brain. What the Germans never anticipated was that the British would think up the beginnings of the modern day computer and develop a “thinking machine” to sort through billions of complex computations and find the equivalent of a needle buried in one of millions of haystacks.

The essentials of the story are true, but the characters in the movie are fictional. As he did with “Shakespeare in Love,” screenwriter/playwright Tom Stoppard brilliantly interweaves the real and the imaginary to illuminate not only his characters’ era but our own.

The central figure in this story is Tom Jericho (Dougray Scott), a brilliant mathematician with a stunning grasp of numerical relationships. His grasp of human relationships is a little shaky, however. When we first meet him, he is returning to Bletchley after a breakdown. He was shattered by a brief, overwhelming affair with Claire (Saffron Burrows), a co-worker who seduced and then abandoned him. His superiors do not want him back, but he may be their best hope for breaking the German’s new code, the Shark, before a group of U-boats meet up with American convoys carrying desperately needed supplies.

The reason the Germans are using a new code is that they found out that the British had broken the Enigma. Meanwhile, Claire has disappeared. Figuring out where she is and whether there is a connection between her disappearance and the leak to the Germans is a puzzle that is as important to Tom as decoding the Shark.

He teams up with Claire’s roommate Hester (Kate Winslet) to find out what happened to Claire. As they search for clues, they are watched by Wigram (Jeremy Northern), a sleek secret agent investigating Tom and his team to see if one of them is a traitor.

Stoppard is fascinated with puzzles, wordplay, secrets, and stories within stories, all of which lend themselves very well to the Bletchley code-breakers. The movie brilliantly depicts the desperate atmosphere and heart-breaking dedication of the people who knew that their success – or failure – could do more to determine the outcome of the war than a thousand soldiers with guns.

The performances are excellent, particularly Northern, whose single syllable on entering Tom’s room, “Bliss!” gives us his character’s history from tony prep school through too many compromises. He is a man who has had to sacrifice what he once thought of as honor to serve a greater cause, has had to betray in order to be loyal, and has had to keep too many secrets. Winslet’s only failing is her entirely unsuccessful effort to look dowdy. But she and Scott are marvelous at showing us something we seldom see in movies, really smart people using their intelligence.

Parents should know that the movie has some sexual references and situations (brief nudity). Claire seduces just about every man she meets. There are some very tense scenes, including graphic images of slaughtered bodies in a mass grave.

The movie raises a number of moral dilemmas that are well worth discussion. When it becomes clear that there is no way to save the American supply ships in time, the code-breakers debate whether it is right to use what they know about the ships’ positions to help them calculate the keys to break the code. What are the best arguments for each side? Who was right? The characters lie and there are a number of betrayals in the movie – more than some members of the audience may be able to sort through on the first viewing – and it is worth talking about how people decide whom to trust and how much evidence they need before they change their minds.

Families who enjoy this movie should read about the real key figure at Bletchley, the truly enigmatic Alan Turing. His artificial intelligence test is still the standard used today.

Families who enjoy this movie will also enjoy reading Between Silk and Cyanide, a wonderfully entertaining memoir by Leo Marks, who worked on creating codes during this era. (Fans of 84 Charing Cross Road will enjoy the fact that Leo Marks is the son of man who owned the bookstore at that address.) The complicated issues of uneasy alliances and tragic choices are explored in Kurt Vonnegut’s classic novel, Mother Night. You can also see an exciting but highly fictionalized version of the capture of the Enigma machine (in real life, it was the Brits, not the Americans) in U-571.