Jasper Jones (2017)

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It’s not my brand. It’s the late 1960s in the small town of Corrigan in Western Australia.  14 year old Charlie Bucktin (Levi Miller) is the son of writer Wes (Dan Wyllie) whose frustrated wife (Toni Colette) is a restless soul. Wannabe writer Charlie spends his days with his best friend Jeffrey Lu (Kevin Lu), a Vietnamese boy daily confronted with race hate in a place where young men are being sent to Vietnam. Eliza Wishart (Angouire Rice) daughter of the President of the town hall becomes more and more endeared towards Charlie and they bond over their mutual love of books. On Christmas Eve Charlie is unexpectedly visited by Jasper Jones (Aaron L. McGrath) an outcast due to his mixed White-Aboriginal heritage and rebellious lifestyle. Jasper begs for Charlie’s help, and leads him to his private glade where Charlies is horrified to see Jasper’s girlfriend Laura Wishart, battered and hanging from a tree. Jasper, aware that he is likely to be blamed for Laura’s murder, convinces Charlie that they should hide the body, so they throw it into a nearby pond, weighted by a large rock. Jeffrey is passionate about cricket, but his attempts to join the Corrigan team are thwarted by the racism of the coach and other players. Eventually he finds himself batting in a game against a rival town, watched by Charlie, who has befriended Eliza, Laura’s younger sister. As Jeffrey wins the game on the last ball, Charlie and Eliza hold hands and embrace. A search for the missing girl is soon organised, focused on the idea that she may have run away. Jasper is interrogated roughly by the local police, but he soon escapes. Meanwhile tension builds in the town, as parents fear more disappearances, and townspeople search for someone to blame. The tension is funneled into strict curfews for the children as well as racial attacks on Jeffrey’s family. It is revealed that Charlie’s mother, increasingly disillusioned with life in Corrigan and her marriage, is having an affair with the Sarge involved with the investigation into Laura’s disappearance. Jasper believes that Laura’s murderer is Mad Jack Lionel (Hugo Weaving) an old recluse rumored to have done terrible things in the past. Jasper determines to confront Lionel on New Year’s Eve, and together with Charlie, goes to his house. Lionel manages to defuse Jasper’s aggression, and the truth comes out: Lionel is actually Jasper’s grandfather who had ostracised his son’s family knowing that he had married with an Aboriginal woman when Jasper was a baby. His daughter-in-law then took care of him, spurring a change of heart towards her. One night, she needed medical attention, and Lionel had attempted to race her to hospital. In his haste, however, he accidentally crashed his car, causing her death. The incident has left him guilty, broken, and ostracized by the townspeople. Ever since, Lionel has been trying to reach out to Jasper and apologise for his actions. On the same night, Charlie comes to Eliza’s window. They go to Jasper’s glade. Here Eliza tells Charlie that she knows everything about Laura’s death and hands him Laura’s suicide note which explains the incestuous rapes to which their father had subjected her and left her pregnant. Eliza witnessed her sister’s suicide by hanging and then Charlie admits to her that he and Jasper got rid of her body. After exacting a revenge on her father the secret remains with Charlie and Eliza and her mother, who destroys the note but Charlie’s own family is broken up when his mother leaves the small town which cannot contain her … Craig Silvey adapted his own novel with Shaun Grant.  Director Rachel Perkins sustains an admirable atmosphere and sympathy in what is essentially a family drama enlivened by what Freud ironically termed ‘romance’ with a supposed murder mystery at its centre. The playing is excellent by actors both young and old with a canny sense of what it is to be young and trying to figure out how adults inflict damage on everyone around them – this is practically a thesis on different models of fatherhood, but it’s so well constructed you don’t understand until the final shot. The mystery isn’t really the point either although there is a deal of suspense. It’s a film that perfectly captures what it is to be young, to love books and to be loyal to your friends and the myriad ways that kids find to survive their parents.  There are echoes of To Kill a Mockingbird and Stand By Me in the themes rendered here but it exists on its own merits as a complex coming of age drama with its distinctive setting and concerns.

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Light Up the Sky! (1960)

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What used to be called the forces comedy is a venerable film tradition but this starts out as a very stagebound vaudeville adaptation and mutates into something darker and dramatic. Narrated to camera years later by seemingly inept and dippy motorcycle-riding Lt. Ogleby (Ian Carmichael) who is actually quite bright and insightful, he regales us with the antics of a bumbling band of misfits manning a rural searchlight battery during the Blitz. Benny Hill and Tommy Steele are the McGaffeys, who take off to perform sketches at the theatre every chance they get and McGaffey the younger (Steele) is in trouble – or rather his girlfriend is. Then there’s grumpy Lance Corporal Tomlinson (Victor Maddern) who wants time off to get married.  Ted Green (Sydney Tafler) is mourning his son and tries to give advice but it goes unheeded. As the stories become stronger – someone going AWOL but being helped at the eleventh hour – the stakes are raised and there is (inevitably) a tragic sacrifice the next time a German plane comes close … Robert Storey’s play Touch it Light was adapted by Vernon Harris and while the comedy mixes oddly with the drama for the most part, it becomes a far stronger work in the concluding half hour. Directed by Lewis Gilbert.

The Shout (1978)

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Psychiatrist Graves (Tim Curry) is keeping score at a lunatic asylum cricket game where the doctors play the inmates. He tells the story of a wandering man Crossley (Alan Bates) who insinuates his way into the home of an avant garde composer/sound engineer Anthony Fielding (John Hurt) and his psychiatric nurse wife Rachel (Susannah York) and uses his aboriginal magic acquired while living in the Aussie Outback to take over their lives and steal Rachel from Anthony.  He lures Anthony to sand dunes at the beach and shows him how his magical shout can kill people … This weirdly engrossing supernatural horror is the second British production from Polish director Jerzy Skolimowski – he had previously made The Deep End and the deeply atmospheric story takes its lead from the sounds that Anthony records (there’s an amazing soundtrack by Tony Banks) and unusual shot framing that makes the deep Devon countryside appear quite sinister. An odd work that repays multiple viewings.  Adapted from Robert Graves’ story by the director and Michael Austen.

Three Men in a Boat (1956)

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Jerome K. Jerome’s witty novel gets a colour boost in this amusing Edwardian comedy of three men who just want to get away from the various women in their lives and take to the river Thames as far as Oxford in a row boat with their dog (the lovely Montmorency) where naturally they encounter even more of the finer species. Laurence Harvey, Jimmy (Whack-O!) Edwards and David Tomlinson are the gents in question while various of the wonderful wives and girlfriends and interfering prospective mother in law include Shirley Eaton, Jill Ireland and Martita Hunt. Some very amusing sequences involving canned pineapple, punting with a photographer capturing the outcome, putting up the tent, the Hampton Court maze and a night time raid on the boating ladies’ bedroom, are treated with a lovely light touch. Delightful entertainment adapted by Hubert Gregg and Vernon Harris with a splendid score by John Addison (I love that guy!) There’s plenty of weather and even some cricket for anglophiles and look fast for Norman Rossington making his debut! (To say nothing of the dog.) Directed by Ken Annakin.