Stars In Their Eyes

The latest Star Wars production will appeal to most of it's avid followers because it's entertainment value is still prominent to it's fans.

Although the ideas, content and story line, plot, and even type of characters are repetitive and familiar, it still offers the usual elements of visual stimulation that big screen audiences go for.

Continuity is then the main theme here.

Continuity of plot, which entails similar story lines as in previous productions; ranging from the forces of good battling the forces of evil to the internal battles that good and evil need to go through to get to their consecutive inevitable end results.

Continuity of story sequences: from quiet moments of character interaction to loud battles and fast spaceship chase scenes.

Continuity of characters, including the lovers, the teachers, the leaders and the guides, as well as the funny imaginative creatures in space (some of the usual ones and other new ones with novel physical aspect even if not inventive in how they are represented as side line characters).

Continuity of dialogue: not in the sense of actual repeated phrases from previous star wars films, but in how the individuals convey meanings to one another.

Continuity of visual effects and digital work, in the sense that the technology is almost the same, as well as the props used.

And finally continuity in casting, which a lot of directors and producers seem to opt for these days for sequel movies, in order to give the audience a sense of the familiar and to make them feel secure and safe as well as included in the latest production.

This latter we see most directly through the recruitment of the two main actors from the previous productions who played princess Leia and Hans Solo.

The idea is that when we see them on screen, we remember the good old days of Star Wars and we feel inclined to, not only enjoy the latest movie of this kind, but also to feel part of their world again.

This also allows the director to leave the door open for future similar genre films and to introduce us gently to new faces and new actors, who thus are symbolically approved by the trusted older cast because they appear in the same image frame together.

We have 'stars in our eyes' because we then not only see the 'internalized' older actors in our mind's eye, but also the new cast as part of this ongoing continuous scenario of images.

Let the Games Begin

The latest 'Hunger Games' movie is not short of exciting fight scenes, especially at the end, but to start from the beginning may be best. Listing the main missing film features seems apt, before naming the better aspects of the movie.

The plot is predictable and the story line is weak to say the least, due to repetition of the main themes in the previous hunger games productions. The books may have kept us on edge with their literary descriptions, each time a new one came out, but the films do not have this luxury of novel wording and prose.

The characters, except for Katniss, are pseudo non existent, even in the culminating final scenes where all is at stake.

The dialogue, especially the important one between Peeta and Katniss, is almost childish and feels forced. It is almost like ideas and feelings are being spelt out to the audience, when we are of course fully capable of understanding complex dialogue and would much prefer subtlety in conversations on screen.

The beginning and middle parts are way too long in my opinion and need some hard core editing, but it seems there is a trend now of going back to elongated visual stories (such as in 'Spectre' I found).

From a more neutral point of view, the atmosphere is generally a dark one, with subdued colours and a low budget feel to the setting.

There is a 'Horror' element to this thriller, specially noted in three scenes: one is the scene with the black 'goo' type thick liquid threatening the protagonists, and almost coming to life as it 'climbs' the stairs after them.

The other is the one with the disintegrating weaponry used by the Capitol, which has a supernatural effect on the remains of the dead, in that we only see them as metallic dust or specs rather than organic bodies after they are shot down.

The third and final horror like scene is the one with the fighting entities that look like a cross between humans and aliens, and that are engineered by the capital, and sent after Katniss and her friends in the shadowy underground. This scene is very likely digital because of the speed of movement and shapes of these creatures.

These parts of the film also have a 'jump off your seat'' feel to them, which usually accompanies horror films.

The build up to the end scenes is good because we get a sense of suspense and justice with themes such as sacrifice, leadership and love, coming through and pulling us higher so to speak.

The essence of this film is the conflict between the notion of political leadership brainwashing the minds of the masses, on one hand, and the notion of trusting one's instincts and emotions to counteract such illusions and destructive forces, on the other. Katniss is an expert in this, as she is an individual; both a warrior as well as a caring sister and friend, who follows her instinct in the end in making a major decision and taking a risk.

This idea of trust and emotional judgement is portrayed also when a small child recognises Katniss and is deciding whether to give her up to the capital forces or not.

The movie is beautifully charged with emotions, ranging from fear to courage, and from hatred and revenge, to love, responsibility, and redemption.

The treachery of the capitol justifies Katniss's decisions and give the ending a good buildup.

The scene with the cat is an especially moving one, because it conveys the idea of how emotions can be transferred and how this projection is at times therapeutic.

Kat is the girl on fire definitely, as is shown in one of the scenes with her jacket aflame.
She is the mother, the warrior and the saviour, the phoenix reborn of it's ashes.



This is ultimately a film which fights oppression and votes for freedom from politics and its gaming with people's precious lives.

Game on.

'Aventure-s'

Simple stories are sometimes refreshing, since they bring us to a world of fewer characters, usually of the endearing kind, who lead simple lives and follow happy pursuits.



Such is the french tale of 'The Sweet Life', where the main character is the lovable husband, who at a certain time in his life decides to take up a hobby; mainly 'kayaking', and to explore parts of the french country side.

This quirky funny story takes him down a tiny filthy river into a world of small incidents and of meetings with a few characters who touch his life lightly along the way, before he returns to his wife who also seems to have been having a little adventure of her own.

They finally reunite in an affectionate, albeit non tactile, slow motion scene at the end, upon his return. This picturesque reunion is accompanied by some well fitting music to enhance the emotion of the ending.

Some of the notable scenes include an outdoor meal area, a camp out and a couple of love scenes, both latter ones filmed in/around his tent, as well as over some drying laundry outside.

There is another dimension to the story; that which depicts the familiar concept of the middle aged man who wants to 'spread his wings' so to speak, and fly the coop for a while, before his old age. It is the tale of the wondering hunter, who leaves his territory for a while in order to ascertain his male ego and have another chance at complete freedom, before coming back home to roost.

The 'Nature' scenes are beautiful and so are the scenes with him on his Kayak; all worth watching on a big screen.

Much of the dialogue, although simple is funny, especially the banter between husband and wife, as well as between the office group at the start of the film.

Definitely a feel good, easy viewing type of production, if you are in that type of mood of sitting back and letting the images wash over you.

 
   

'Ilusion'

The title of a film can be very telling about it's content, and 'Spectre' certainly falls into that category, because of the 'phantom' organisation in the movie, which is crucial to the plot.

The latest Bond production may well bring James into a new story, but it also repeats familiar lines at the same time. The usual 007 challenges exist, but with a new twist to the old formula of Bond capturing villains and saving the day.

In terms of repeated patterns, there is the inevitable mole of course, who is essential to any good spy movie. M and Bond are at odds at times, which adds spice to the film, and Q is the usual intelligent sensitive but resistant assistant. In this sense, the recipe is the same as before and the story unfolds with similar action scenes and death sequences.

In this particular Bond saga, James has to hunt down an illusive multi-branched organisation - thus the title: 'Ilusion' - a 'phantom' group of people headed by one particular villain, who wants to both gain ultimate power of mass surveillance in order to control the masses, as well as bring down the government's control of the secret service and it's strong hold. This in itself isn't a new plot by any means, but the story content and characters within it are obviously different. 

The relationship of the characters in this particular plot vary from previous ones, in that for instance, the villain turns out to be someone closely related to James and who has had an effect on his life for a while without 007's knowledge. More details when you see the film, otherwise it will spoil quite a bit of the story line.

   

The filming itself seems to have been executed through a less 'colourful lens' (European style filming and camera work) in that the images are hazy, rather than being too clear with extreme contrasts or brilliant colour schemes. 

The action scenes, including a helicopter, a car chase, and few other scenes, are quite exhilarating.

The play between close ups, mid-shots and long shots is very effective, especially for instance in the helicopter scene, although the stunt man is easily identifiable. 

The characters of Bond, C and M are well cast, but one can't help thinking that Ralph Fiennes could have perhaps made a better 007 when one sees him playing a 'non-Voldermort' role like this one. 

The rugged, real bond, less suave, more rough around the edges and vulnerable is supposed to be the one we see when we look at Daniel Craig, but there is something a little more dimensional about Ralph Fiennes, which may lend more weight to a complex Bond character, if this particular casting had been reversed for example.

As 007 fights for the good of his country, as always, the women also play their usual supportive distracting roles in the movie, providing eye candy and entertainment, with the exception of the leading ladies, who always figure in the same way, as a little stronger and less malleable with James.

The dialogue is funny at times, but not throughout, especially in the scene where M and C play on calling each others names out with their letter labels. Other funny moments are provided, when James uses his famous sarcastic cool responses. In these instances, even if we did not see his face on screen as he utters such remarks, we could imagine him smiling from one side of his mouth as he reads his lines.

All in all, a movie which could have been a little faster paced, despite the settings being very rich and versatile. The film could have been a little less prolonged. 

'Spectre' may well be an illusive organisation, posing challenges for Bond, but the production itself certainly isn't illusive since it is a series of long scenes emphasizing the plot at every turn.

An apt title for it's release in the UK around Halloween.

Dark Fantasy

Having been to Comicon yesterday where I let myself become lost in it's mazes of creative genius and waves of artistic talent, I noted that the most prominent feeling I experienced walking along the stands and speaking with the artists (both writers and animation experts) was one of Dark Fantasy.

The world of Fairy Tales, ranging from Hans Christian Anderson's literary works, to the recent flux of films re-interpreting the symbols of such tales, is a constant part of the movie making industry.

The formula is a complex but very educational and entertaining one for audiences: a message of morality packaged within symbols and told through extraordinary characters, such as witches, slayers and helpers. With treasures and magical objects to assist the hero along with his friends during the quest, he/she must defeat the antagonist and reach his/her goal of somehow ethically saving the world and learning something basic along the way.

This is also the journey for the hero in 'The Last Witch Hunter starring Vin Diesel where he must forget the pain of his personal losses and save the world from evil.

His acting skills maybe slightly limited to action hero packed scenes such as previously seen in 'Riddick', but he does have his own individual charm and style, and is a likable qualities as an on screen persona.

In this particular telling of yet another dark fairy tale, he plays the witch hunter who travels through time as an immortal, to defeat the evil resurrected ultimate dark witch who takes on many faces through the decades.

This genre of film is imbued with symbols and poignant images of course but also with themes of salvation, good vs evil and the timelessness and faceless nature of both sides: i.e evil and good can morph and shape shift but it is the essence which counts in both.

Plot and characters are simple enough, ranging from friends to foes, and the close ups and special effects lend the movie a 'games' like aspect where we feel we are interacting with V.D. in a sort of computer game almost (a little like in the movie 'Gamer' but of course on a different level and within a different genre of film).

The moral of this fable is that good can defeat evil of course, as always in such adult adapted fairy tales, and that the journey is worth the risks and pains in order to aid the good against the evil.

Its a film for entertaining and visual/sensory stimulation rather than for in depth thought, but it does offer a few insights into the fairy tale models of writing and story telling, which for instance the Brothers Grimm are famous for- among others.

The movie content does not create a long lasting memory for audiences perhaps, and maybe best seen with popcorn to add to the experience.

The sensational value of the 'anima-tricks', the exquisite character make up/wardrobe and the 'camera-botics' are all equally eye scrumptious.

Sensory enjoyment.

Researched Fiction

One of the most compelling things about writing about films or learning about them generally is the ability to speak with or listen to the film makers first hand about their ideas.

In this case, the director, Roar Uthaug, hints at both the realism and the fiction, in his newly released Norwegian film: 'The Wave'.

Within the aspect of fiction, we note the horror element in one of the more emotionally powerful scenes. It borders on 'science fiction' when the mother (main female protagonist) is forced to kill the 'crazed' man trapped with her and her son under the rubble as water starts gushing into their confined space and threatens to drown them all.

The horror element here is portrayed through an enhanced male voice pitch; through the sound of the man's voice, as he gets worked up about their situation, and before he gets strangled by the boy's mother who is protecting her son.
The man's voice in this scene borders on being an insane Gothic character's voice.
We sense that his tone and pitch change and deepen as the voice vibrates with anger or aggression and as his mind succumbs under pressure.

The film's realism comes through with the research, whereas the fiction is felt because of the play of 'dark' and 'light' in the images on screen.

The research has obviously allowed the director to provoke a powerful image of the possible tsunami in the audience's mind, and it exposes both the scientific as well as the human consequential aspects of such a horrific event unfolding.

From a scientific point of view, the movie gives us a bird's eye view of the chain reaction which would lead to this natural upheaval.

It also makes us feel with the victims who either escape or suffer death because of this.

The director achieves the latter through creating a connection with a heroic family and through allowing the audience to identify with their strong ties to one another.

The film distinguishes itself from that point of view because the family has no internal issues to resolve as would usually be the case with the Hollywood disaster movie scenarios.

The only conflicts to resolve are external ones; essentially dealing with the effects of the tsunami.
The enemy in this case is nature's wildness and unpredictability.

The acting is intense and the close ups are very effective. The performances are made all the more 'real' because the filming takes place mostly in 'real time' with very few digital effects.
There are in fact very few digitalised special effects, which makes the action scenes more difficult but also look more believable.

The few long shots are of the huge waves, and those were the only digitalised images according to the director. As the leading actress mentions at the Q and A following the screening: some of the work was 'painful' because of having to be wet and work within the water a lot of the time in order to simulate drowning. The stunts were mostly actual.

This 'real time' acting and the research done for the film, give the production realism.
The sound effects, enhanced voice pitches and tones, as well as the play of 'shadows' with 'light', give it fictional value.

But because the film feels very 'actual', the ending has to be a happy one on some basic level, otherwise the film would be too 'real' or it would feel like the natural disaster has already taken place, and this would take away from the genuine aspect of the movie.

Fortunately, and according to the director, if this were real life, the experts would be able to predict the countdown to the flood earlier on, and thus fatalities would not be a consideration.

This film has certainly taken a majority of it's audience by 'storm', if you will excuse the pun.

'Spider' Scripts

Stories always need to be good in some way in order to deserve being adapted into films, although this is sometimes not the case these days.

A strong script is the infrastructure which all enduring films require and is at the basis of every successful story.

To achieve this, a powerful array of characters is needed along with a believable interaction between them, and most importantly a viable build up of their relationships. Simply put we need to believe in how they feel towards and act with one another on screen.

Nancy Meyers is an old time favourite of many because of her ability to present us with emotionally developed characters through her writing and directing, and she does this beautifully once again in her latest: 'The Intern', starring De Niro and Hathaway.

The characters have emotionally complex profiles and believable relationships with one another, ranging from the decent father figure (De Niro), to the aspiring, ambitious young working mother (Hathaway), to her seemingly emasculated yet ultimately loving, understanding and regretful husband, even to the co-workers at the company which she has established. 

Meyers has a magical way of weaving a web of interplay between characters, in a natural and convincing way, leading them to build real and lasting relationships with one another.
All of this she manages to achieve within just a couple of hours of screen time.

This is a skill rarely found because usually we find the players suddenly moving to another dimension in their interactions, without any real emotional connection previously, or any actual believable build up.That is the successful formula, which makes this film, like many others of hers, a treat to watch. 

It is a production which is both funny and sad at the same time, and although simple as a plot, still extremely enjoyable. It is an 'easy' type of viewing experience, as well as being a genuine film with sincere characters.

The themes explored are: parenthood, role reversal between men and women in the work place and at home, as well as love, relationships and adultery. 

The deeper themes are perhaps linked to concepts of trust and of the boundaries in relationships depending on the individuals involved.

From a filming point of view this is a movie where the camera takes second place to the characters and perhaps this is still how it should be when a real story of emotions is told. 

In contrast to this, films such as: 'The Martian' (previous post) look at the camera as a technical tool and as directly involved in the life of the actors/characters on screen. In such films, as the latter, the camera is seen as a priority tool of the film making process, even to the point of cameras being shown actually rolling in real time within the film itself.
This technique, of showing the camera in action within the movie, reminds us of the power and strength of the film reel as a life giving tool, through its images.

As to 'The Intern', the title gives a feel of the film. The casting is very well executed; the right faces for the right characters, and the feeling throughout is one of teaching and learning, therefore the title. 

Experience really doesn't ever get old, and although De Niro may have aged, he certainly knows how to be cast in the right roles for his time of life.

Lots to learn from 'The Intern'.

  

Stranded

Survival films are a great source of entertainment on the big screen because of their character value.

They allow us to identify with, or root for a strong survivor type character, on the most basic of levels.

These films, with for instance actors like Tom Hanks adapting to and becoming a part of the wilderness and of an unrelenting type of wild Nature, are great classics because they not only create an imaginary world of adventure and obstacles to overcome, but also bring us closer to our most instinctive human needs.

They make us ask ourselves questions such as what are really the most important things in life, ie what are the basic things we require to survive and which make us put our desires into perspective.

These are films about human nature and what unites as a human race against Nature's forces rather than what separates us as nations.

This is the formula repeated, in a way, by 'The Martian', starring Matt Damon as the stranded hero, fighting to stay alive on Mars; in an unfamiliar, harsh wasteland of a habitat, where the only helpful elements are organic ones, as well as his knowledge of numerals and letters for remote communication.

This is a film which not only reminds us of our mortality and vulnerability, as bleeding, ageing humans, but equally, and thankfully, about our strength of mind and resilience when we may be facing death.

It brings the instinct of survival to the forefront as one of the most powerful inherent instincts of any human being, but of course it also points to character being essential to survival.

Matt Damon's character is tailored to be an extraordinary one; an inventive, creative and strong willed person, but the story also shows us on some level, the shared resilient qualities of individuals when faced with life threatening situations.

The scenery is fabulous with the toned down oranges and browns of the landscapes of a deserted Mars; a vast horizon of nothingness but somehow imbued with energy and force.

The elements include the atmosphere's particularities such as strong rain and gusty winds.

These put Matt to to the test and call on his scientific training in order to move back in time, metaphorically speaking, and go back to the basics of how the earth's/soil's own treasures can help him produce food for himself, in order to last a while, and till his 'friends' on earth can come up with a plan to rescue him.

Numerals and letters are used as symbols for communicating and this also takes us back to original means of language and counting, reminding us of how far science has taken us, as well as how we sometimes have to remember to deconstruct what we have created in order to save ourselves.

This is a deep notion worth thinking about, because we in fact do often forget what science has allowed and we end up using technology blindly. These scientific and technological advances make us less aware of Nature and the organic world as the source of it all.

Another concept which was touched upon was the theological one of existence and religion with the use of the cross as a symbol in the film, as well as a being utilised as a wooden object being put to good use by Matt in order to create fire, fuel and energy ultimately for himself.
The idea here is that spirituality can go hand in hand with science. 

The many scientific tools, which the hero presents us with during the film in order to create situations to save himself, are truly fascinating.

Matt Damon's acting is sublime, especially in one of the opening scenes where he has to literally operate on himself alone. 

Of course there are the usual let down facets of the movie, such as an overly enhanced sense of idealism where nations come together to save one man. This maybe realistic on some level because NASA wants to conserve its good reputation by doing saving one of it's own, but equally seems very unrealistic and 'Hollywoodish' because somehow exaggerated. 

We may find it a little hard to believe that nations and masses of people all over the world would be so greatly engrossed with the survival of one stranger, no matter how special and heroic he may be, and even if he is a child of NASA and stranded in the stars

People in real life are slightly more involved with their own personal affairs than that of others.

But for the sake of argument and a hopeful, positive outlook, let us say that the film gives a feeling of unity of all people coming together for this one good cause in trying to save a fellow human being.

This in itself is a lovely thought even if short lived and is mainly found in the world of cinema.

The humour is carried out foremost by Matt in a couple of good scenes, and although the script is not a huge one, this is a lengthy film. It does not feel long though, because of timed editing and the excellent acting abilities of the hero Mr Damon.

Describing the directing seems a mute exercise in this case, as words really could not do justice to the Cinematography. It is Ridley Scott after all, and his name being in the credits, in anyway at all, really says it all and is always enough of an incentive.

 Worth the trip to Mars definitely. Happy Travels! 

      

Oldies and their Goodies

Fresh, refreshing and complex, are the first few words that come to mind whilst viewing the recently restored production of 'Our Man in Havana'.

Sony Pictures' 4K digital restoration of this original Carol Reed (director) and Graham Greene (writer) 1959 collaboration, just months after Castro had overthrown Batista, is a Cinematic treat.

Both visually as an experience on the big screen, but also in terms of its layered exposition of Cuba's (or in this case Havana's) social setting at the time, it offers food for thought on numerous levels.

The setting is beautifully presented through use of wide shots of the backdrop of Havana, it's nightlife and club scenes, as well as it's street energy and colourful inhabitants.



The music lends itself to this dual atmosphere of  happy go lucky 'joie de vivre' at the same time as a menacing threat of crime and death.

We find a band of musicians following a few characters around, and appearing at the drop of a hat out of no where, to surround them with loud energetic Cuban music, symbolizing this split in the daily life of Havana during those times. We see here a pretense of joy, coating the underlying reality of corruption, which the characters navigate through, whilst surrounded by music, dancing and alcohol.

Dancing is provided by the beautiful women in the clubs, whilst Daiquiris -the protagonist's favourite drink (main character played by Alec Guinness)- among other drinks such as whiskey, are offered and drunk continuously at bars and meals and homes throughout the film.

Drinks even figure in a chess game as the pawns or the means to an end, as well as possibly carrying poisons and affecting the lives of the 'players' in more than one way. We have killer drinks, threatening drinks, drinks as tools to get to an end result or simply to numb any pain.

A very effective image of a Daiquiri glass, presented to an Alec Guinness turning away from it just seconds after he orders it, is very telling of the role of alcohol both in the film and in Cuba at the time. No prohibition there, and as one of the characters says: nothing is illegal in Cuba where drinks can be taken for granted.A dig here at how any forced prohibition can cause a reaction in people.

This idea of 'anything goes', is emphasized through the objectification of women in the film, as semi naked dancers, strippers, and call girls.

One particular silent woman appears everywhere and often in the background throughout, and even with her back to us at times, she pops up as the representation of forbidden fruit made accessible to all men.
She is in fact in the opening sequence as the credits roll, standing at a balcony in a very inviting but unhappy way, as a man looks up at her. This still shot of her then restarts with actions once the film begins and the first credits end. This cinematic ploy portrays a continuous or ever present offer of women who are openly sold to men in Havana at the time.

Money, as a commodity is much needed, as we learn from the way the main character Alec will do just about anything to get his doe eyed, pretty daughter the fleeting things she wants to own in life.

Thus, the themes of crime and corruption are presented to us throughout but with  an attractive coating of fun and joyful gaiety,

Underneath all the glitz and glamour, we find drunkenness, prostitution, greed and crime as inherent parts of the existing Cuban society, inherited from Batista by Castro at the time.

The film is loaded with complex symbolic images reflecting the themes of crime and corruption but also of love, and of the utility or lack of, of  the 'policing' agencies at the time.



American and British intelligence are portrayed comically in how futile they appear to be. They seem to be organisations filled with bumbling characters, who can easily confuse a vacuum cleaner with a bombing device and who for instance don't seem to know the difference between what carries sound and what doesn't. In one scene, an agent closes a hole ridden gate door in order to give himself and Alec privacy, when in fact said door he shuts is more like an open window whether it be closed or open. This latter analogy is a hint at the 'leaks' or holes in the secret services as institutions; i.e: when you think they are secure and safe, they actually are transparent and not so at all.



The recurring and funny play on words in dialogue, gives beautiful touches to the film, adding folds to the cleverness of the script and how it takes us into the convoluted but almost ridiculous world or secret services. For instance: 'creates a vacuum in' or 'a clean sweep of', here refer to Alec's cover job as a vacuum salesman, whilst the conversation which takes place is in fact about the actions or plans of the secret service.

There is a mention of pan American airlines giving out fading orchids to people, as a stab perhaps at the fading or superficial power of US influence at the time.
From a totally different perspective, we notice a British Airways flight race across the skies, and we perhaps wonder at advertising for the film at the time of the making of the movie.
But coming back to this idea of a fading or non consequential US influence, we see this repeated in an image of a pharmacy sign in a darkened street of Havana, where a close up of Alec allows the camera to shade the top of the word 'Farmacia' from the audience's view. We are thus left with: 'CIA' as a word in the backdrop.
We wonder as to whether this is a clever trick by Reed to show that such an intelligence agency is 'ill' or 'unwell' and needs medical or pharmaceutical attention.

Love is seen through cynical eyes in the film, with Beatrice (interesting choice of name reminiscent of Dante's Beatrice) tries to save Alec, firstly by splashing his daughter's unwanted male pursuant with water at a bar, and then through her caring for him and advice.
She is apparently married of sorts -in a way- to a man who hasn't come back, and the dialogue in the scenes where she explains it to Alec's daughter is exquisite.
In fact she explains her view of love beautifully when she says to Alec that her estranged husband was too confident about love and that in fact love is never that sure; that when in love, people are usually frightened to lose it.

A few gems like this one can be found in the script and dialogue, but then the whole story is gorgeously written.

The scenes in the male bathrooms where homosexuality is hinted at heavily, are both funny and serious at the same time, and riddled with meanings about relationships and identity.

Each character in the movie carries at least one strong message.

Other than Beatrice and her ideas about love, we also have the policeman character as a relaxed semi- corrupt officer, who gives us a pragmatic look at poverty and injustice, as he makes a few comments about torture not being for the rich, and as he hints at the poor being the recipients of all things unfair.

The daughter's character is intriguing as an innocent protected woman, but also as a 'chained' female in a world where the options for women are either: be sold or be bought. The image of her with the horse's harness around her neck is very telling. In this scene her father Alec gently places the harness protectively and lovingly around her as he promises her that she she can keep the horse he bought for her.

Finally, Alec, the main character with his humour and comic facial expressions, as the agent who isn't one at all but a simple vacuum cleaner sales man with talent and guts, is also one which presents us with the theme of the self fulfilling prophecy.
This is a very good device in the story and brings to mind the fact that often when we say that something fictional is real, even if we do not believe it is, it ends up being very real indeed.

Very existential.

There is even a mention of Science Fiction writing, which becomes an inherent part of the story of the hero. Writing is presented as a creative and almost positively manipulative tool, allowing the imagination to see and make believe whatever it wishes.

Alec's images as a writer end up convincing even the prime minister of something which in fact doesn't exist.

The message here is this: there is great power in words, writing, and images. They hold Truth, but also create fiction made to be reality, as is the case with film making.

A lovely painting of a film, with powerful themes and intelligent visual and verbal language.

The oldies are always full of these goodies which we scarcely find in other more recent film productions.
These kinds of authentic older films give the audience layer upon layer of messages and symbols to unravel.
This sense of mystery is attractive to the mind since -as the German doctor in the film hints at, although not in these particular words- secrets are always a good means to pull one in to any story.