S02E17: Cinema Resurgence & The Wes Anderson Debate: Barbie, Blockbusters, and Beyond

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First on film and entertainment. How
is everybody? I tell you something.

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It's been another big week. After
we've had Oppenheimer, we've had Barbie.

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We've had all sorts of discussions about
whether Barbie is a movie just for feminists

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or whether it's a movie for the
whole world. It puts women into perspective.

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We've got the Matilda's giving everybody a
run for their money in terms of

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the visibility the most watched television programs. It's actually quite great, isn't it.

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Jackie Hamerton. I loving it,
and it's got people going to the

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cinema, which is a great story
in itself. Well, during the week

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I sent you an article. It
was I don't know where you've read it

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yet, with regardless, I did
read it, and I had already read

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it. It's doing the rounds,
it's doing the rounser. This is about

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Barbie because there was was it a
critic in the United States who sort of

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panned it, and then this was
a sort of answer to all of that.

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Perhaps you can, well you've read
it more recently than I have.

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Perhaps you can enunciate in a little
bit of detail what the article is saying.

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Well, well, she covered a
wide area, but basically basically ends

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up saying, what's wrong with a
you know, with a kind of movie

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like this that throws out ideas about
women in society and the changes and that,

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and you know why has it upset
some men of a certain ilk If

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you're like, yeah, well,
and look, there's no doubt in my

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mind that we are going to see
a sequel. Do you have any doubt

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about that at all? I mean, it's too the studios would be salivating.

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It's made so much money. It's
you know, in the top what

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twenty or so films ever released now
in terms of people flocking and there's there's

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groups of people who are going and
it's just it's wonderful. I was starting

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to get really concerned after COVID that
the numbers are not going to go back

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to the cinema. Mind you,
it does take these sorts of movies or

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blockbusters, because I think a lot
of people are opting for the convert dience

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of streaming, but there's nothing quite
like my favorite cinema Imax. The experience

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that we had there seeing Oppenheimer was
just next level as far as I'm concerned.

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What do you think, pet I
mean, were you concerned that cinema

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going public was not going to go
back after COVID in the numbers that it

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was before. Actually I wasn't.
I thought there was still a strong appetite

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for people to go back into cinemas, especially to experience big screens and good

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sound, and that certainly is happening, and it just needed a number of

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very strong films to encourage people to
go back into the cinema. Are you

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somebody has streaming services at home or
not? Yes? And I do.

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I do have Netflix and a few
others. So what about you, Greg?

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Are you somebody who just goes to
the cinema or you have your Netflix

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as well? I have Netflix and
I have Foxhell that's about it. I

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can't be bothered with all the other
streaming services close just in time or the

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money to waste on them. Well, okays have done in the cinema to

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see my films. Yeah, Well
let's talk about Netflix. Do you do

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you think you make good use of
it or not? Not? Really?

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No? I did during lockdown when
you couldn't go to the cinemas, But

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more recently, I fit and choose
while I watch and Peter, you go

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and see all three out of and
fifty films at the Belbnea International Film Festival.

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So when if you got tired of
watching Netflix very rarely, I must

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admit, I mean I already canceled
my Fox Still subscription because it was just

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horrendously expensive and I was not using
it and Netflix might be next. Now,

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Jackie, you don't have time for
any of this to you because you're

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you're walking your dog seventeen times a
day. Yeah, something my dog No.

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Eight one we've got. Yeah.
I had known all these dog walkers,

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but nobody compares to you. Your
dog is, let's say, angles

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to try and go out several times
a day. Is that true? Well,

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let's just say that as his last
check up, he's sixteen years old.

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Because his last check up, the
vet declared that his heart was the

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heart of the nestling. Why which
shop is very I was very impressed to

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hear that. Well, I mean, to keep up with you, who

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does what's about five classes a day? As well? Your dog's trying to

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keep up? And what's that in
human years? Sixteen times seven? My

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golly, yes, and balancing that
our going to the balancing that we're going

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to the going to as many films
as I possibly can does sometimes test test,

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the test the twenty four hours in
the day. Okay, well look,

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let's let's get on with things on
j eighty eight F M. Wes

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Anderson. Now, some people absolutely
adore his movies. Some are totally perplexed

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by his films, and others say
no, no, give me something that

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makes more sense. So where do
we stay? Greg Anderson? Greg Anderson?

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Where's and he used to be a
footballer. Where's Anderson? I'm a

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great fan of his and I really
look forward to seeing what he's going to

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dish up next. And the Budapest
Hotel, Wow, that was quite some

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movie. Asteroid City is the one
we're gonna be talking about today. Peter

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e a fan or not very much
so. He's such a distinctive filmmaker who

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has carved out his own niche in
terms of the way he explores story.

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I'm very impressed by him. Well, I mean, he's confounding at times.

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There's a question about that. Greg. Do you like movies that you

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make you think? Or do you
like films that spell everything out? I

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am able to all sorts of different
films, Alex said, I do like

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once that makes you sing, But
I like also once it spell everything out

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and you can just sit back and
relaxing, a little wash over you.

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And so where you Where's Anderson?
Fan? Hit? Missed one? I

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like some of his stuff, but
has left me a little bit cold and

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scratch my head. Well, I'm
curious, Jack here you are you of

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the You're fawning Wes Anderson? Or
are you somebody who also like Greg can

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take him, will leave him?
Oh, fawning hardly even hardly even touches

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the way I'll feel about like,
here's a world unto himself. And I

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think that it's what Peter just said, it's the originality of it. You

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know. They can churn out films, you know, on based on old

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comic book heroes or you know biographies
or you know romance or that, and

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he just doesn't fit those categories.
And he's has such an individual style and

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he's he's a man of He's like
an art gallery in his films and so

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distinctive. If I just think he's
wonderful. Mind you, the stories don't

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always come out down a street narrative. No, that's that's absolutely so.

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It's funny having seen this film in
the last few days. Last night,

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night before I actually went to the
opening night of Melbourne Theater Company production a

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couple of short plays. One was
forty five minutes, the other was twenty

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five. And there is a British
playwright. I'm not sure whether any of

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you have heard of her, but
she's incredible. Her name's Carol Leslie Churchill.

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Are you Formidia Jackie or not?
No? No, okay, she

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is now I reckon she'd be about
eighty four years of age, and she's

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known as just the most probably the
one of the leading playwrights in the world.

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And again, you've really got to
work with her material. I sort

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of it's up to it's open to
interpretation. I read an article about her

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and she never tells she She just
allows the audience to interpret as they will.

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And I sat through the first play
and I must admit I was scratching

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my head a lot. And it's
that sort of and yet I really admired

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what she did, and she sort
of She juxtaposed four women who would have

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to be seventy plus sitting reflecting on
their lives, one of whom had inadvertently

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murdered her husband, with the state
of the world having gone into decline,

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and it juxtaposed one with the other, scenes lasting sometimes a few minutes,

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sometimes a few seconds, blackouts between
them, loud sounds, quite alarming,

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sounds in between. And I kind
of thought about this in the context it

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was very interesting. I thought about
this in the context of Wes Anderson.

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I sort of thought saw her as
a bit of an equivalent, if you

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like, in the creative space.
Asteroid City's emirated. It's one hundred and

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five minutes in length, and I
do I honestly say it is creative,

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but it's also confounding, and I
wouldn't have expected anything less. He's quite

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the eclectic mind. And it's set
in nineteen fifty five. Television host is

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introducing this imaginary drama called Asteroid City, and the focus at first is on

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a noted playwright called Conrad Erb played
by Edward Norton. But that focus,

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well, it's hardly engaging entertainment.
So very soon we're being introduced to the

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third first read through of Conrad Erb's
latest work, and you've got a junior

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astronomy convention held in a fictional desert
town. And into that setting comes Orgie

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Steambeck played by Jason Schwartzman, who's
a favorite of Wes Anderson's in terms of

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his movies, and Orgie Steinbeck arrives
with his children. They include his brainiac's

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son, Woodrow played by Jake Ryan, and Woodrow's three strong willed younger sisters.

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When the family car breaks down,
Orgie calls his father in law,

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Stanley Zach and that's a role filled
by Tom Hanks. It calls him for

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help. His father in law doesn't
really care for Augie all that much and

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can't believe that his son in law
hasn't told his children that their mother,

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his wife, has passed away,
and Orgie as with him in I should

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say less than appropriate, vessel his
wife's ashes, and as events unfold in

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Asteroid City, Orgie meets and falls
for a famous but cynical actress called Midge

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Campbell Scarlet Johansson. But the real
kicker comes when an alien arrives at this

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convention and departs with I'll call it
a sample, resulting in everyone being quarantined.

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So that's the obtuse nature of this
particular synopsis for Asteroid City. Heaps

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are fun, I reckon, you
just need to sit back and savor Anderson

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forging his quirky form of magic on
screen. It's a film that's resplendent with

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actors who I reckon they're having a
ball, they really are. Anderson's dry

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humor story by him and Roman Capola
or Coppola is all over this particular production.

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It is at times difficult to follow, but it's captivating. You dare

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not look away because you might miss
another pearler, and there are plenty of

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those. I thought that Jason Schwartzman
and Scarlett Johnson were the standouts. Their

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scenes together across neighboring windows really lit
up the screen. And I also kept

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a lookout for Margo Robbie, knowing
that she was in this film and when

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her turn came. She doesn't have
a big role, but she didn't disappoint

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and Brian Cranston, I thought,
also did an earnest job as the TV

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host during the black and white era. And so to Edward Norton is the

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playwright, the Asteroid City playwright.
Interesting to see Tom Hanks in this contry,

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judgmental spaces Orgie's disapproving father in law. So apart from all of this,

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there's some rather important observations to make
about the atom bomb in Asteroid City,

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and not surprisingly, those thoughts are
delivered in an entirely different style to

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open Higher. I thought the production
set, at the production design, the

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set decoration, they were really delightful
throwbacks to a bygone era. I couldn't

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get enough of their playful nature.
So I came out of this rather puzzled

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but pleased. That's how I would
describe it. What about you? Beto

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absolutely loved this film, especially the
incredible cast and the distinctive approach that Anderson

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takes to shooting the film using two
aspect ratios visiting Academy ratio in black and

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white and widescreen color. It's interesting
to note this film was shot during COVID

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and the issue was that it had
been delayed a fair bit, and eventually

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they shot the film in Spain near
Madrid, and also some of the interiors

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were shot at Studio Bubbart's back in
Berlin. This is a really interesting,

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clever space journey, existential humanistic sort
of story that, yes, it is

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somewhat difficult to fathom, but once
you sit through ward, once you let

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it wash over you, once you
understand the characters, the storylines, and

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I think the positive aspect of the
film, especially when the alien arrives.

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Who wants that meteorite? I thought
there was so much going for this film.

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I really really loved it, and
I was very impressed. And it's

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good to see another music score from
Alexandra Displa, a composer who's written so

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many great music scores, who deserves
an oscar at last, I think great

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film. Did you like Did you
like the representation of the alien stick figure?

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I liked it. It was quite
different and unusual and almost about nine.

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Yeah, a throwback certainly was Jackie. The production values. I just

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you know, I couldn't get enough
of the way it was lit. I

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thought, you know, I was
on a cartoon set, which is really

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something. It's it's absolutely beautiful.
And those pastel that pastel palette he's which

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he was Anderson uses in in a
lot of his films, I don't know,

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certainly not all, but has he
used in others like Moon Rod's Kingdom

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had a little bit of that going
on too. It's a it's a little

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bit vintage, and it's absolutely beautiful
to look at. It's a real world

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itself, and I left feeling like
I'd been walking through an art gallery.

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Really the shots are held for a
long time, and the way they're they're

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the kind of symmetrical and the color. The colors are so important to him.

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It really is a very visual film
which works in well with the you

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know, the whole emotion of you
know, being sickle and quirky and you

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know, having these little stories within
stories, some of which goes somewhere and

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some of which don't, and you
know, just little hints of romance and

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hints of retro and it all comes
together in a really beautiful package. But

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overall, it really is a very
visual film. I kind of wonder with

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the Grand Budapest Hotel and with movies
later, there's be fascinating to see the

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storyboarding that goes on, presuming that
it does before a film like this,

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Greg, have you, I mean, you've been a various exhibitions and things,

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I reckon it'd be fascinating to get
a bit of an insight into this

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this great filmmaker's mind, would it
not. Yeah, he's Certilly has a

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distinctive mind and his films have a
distinctive look at a unique feel to them.

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And you've already talked about the unique
production design here, color palette scheme

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that give the film as distinct you've
looked. There's an artificial quality to I

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thought. The setting of asteroids there
as well, which kept me a bit

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of a distance here, I thought. And the structure about the playwright at

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the start and setting up this play
and then cutting backwards and forwards their initially

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sort of a little bit of a
turn off for me, I thought,

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I guess wanted to go straight into
the story there, and your reference here

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as in there they credited as Jeff
Goldblomb. You wouldn't have known unless they

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can Jeff. And but what a
superbcast. I thought Openheimer had a great

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cast. This film leaves it's dead
with the number of actors who come on.

206
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Some have very small roles and not
a lot to do, but some

207
00:16:33.879 --> 00:16:37.480
of them leave their mark there.
I thought Tom Hanks was really good there

208
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is said Commudi only grandfather there.
Jason Schwartzman always good in it. Anderson

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00:16:44.480 --> 00:16:49.440
film and its color are hands as
good as the actress there. I thought.

210
00:16:49.440 --> 00:16:55.519
Some of the dialogue is just similarly
dull, droll delivery of the is

211
00:16:55.600 --> 00:17:00.200
oblique dialogue there. You sort of
find yourself hammings A listen carefully because you

212
00:17:00.279 --> 00:17:03.160
said, Alix, I think it
was you might miss some of it the

213
00:17:03.920 --> 00:17:07.720
dialogue riven, but Anderson is something
you're an acquired taste. Those you're on

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00:17:07.799 --> 00:17:11.480
his wavelength will certainly appreciate this one. Yeah, I agree. So what

215
00:17:11.480 --> 00:17:14.920
would you have given it? Out
of ten asteroids that he m rated?

216
00:17:15.559 --> 00:17:18.200
What's the score from Greg King?
Well, I'm gonna give it at six

217
00:17:18.480 --> 00:17:22.599
six and a half m hmm,
okay, So I think you'll be the

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00:17:22.599 --> 00:17:27.079
world the Grand budapesto Joel. I
thought that was probably a highlight of his

219
00:17:27.160 --> 00:17:30.920
career. Yeah, I look,
I think that that's probably I mean,

220
00:17:30.039 --> 00:17:33.599
I'm not sure about the other two. Would you agree that's probably my best?

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00:17:34.119 --> 00:17:41.559
Where's Anderson film? Too? What
do you think of better? Oh?

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00:17:41.640 --> 00:17:44.960
Sorry, I didn't know. It's
true to me. Look, I

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think it's quite a different film in
some respects. In terms of story,

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I think it's just as good as
Grand Budapest Hotel. And I love the

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use of camera movement and so on. I give it nine out of ten.

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Really wow? Yes, okay,
that's that's a very high make for

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one hundred and five minutes? And
what about you? And not talking about

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the length more the creativity involved Jackie. Ah. Yes, my favorite was

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Anson film is Moonrise Kingdom. Actually
yeah, Budapest didn't get me quite as

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much. But anyway, for Asteroid
City, I gave h out of ten

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and I gave it a seven and
a half. You are on Jare.

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00:18:25.079 --> 00:18:30.079
Please continue to listen to us and
contribute only for fifty four bucks a year

233
00:18:30.079 --> 00:18:34.480
and you can become a member and
keep supporting the radio station. All it's

234
00:18:34.519 --> 00:18:41.200
worth. Now I want to move
on to I mean, it's kind of

235
00:18:41.279 --> 00:18:45.119
interesting because when you've seen one d
regular film, you kind of think you've

236
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seen them all. But everyone's got
a slight bend or twist, and this

237
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certainly does. It's called Dracular Voyage
of the Dementor. It's one hundred and

238
00:18:52.720 --> 00:18:57.039
eighteen minutes. It's m A rated
and you would have to describe this as

239
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atmospheric. It's in enormously at respert
from the get go to the end,

240
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and it's only based on one chapter. It is based on a chapter from

241
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the Bram Stoker classic novel that was
written in eighteen ninety seven, and it

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00:19:14.599 --> 00:19:19.200
concerns the terrifying story of a merchant
ship called the Demeta d E M E

243
00:19:19.400 --> 00:19:26.480
T E R charted to carry private
cargo. It turned out to be fifty

244
00:19:26.599 --> 00:19:33.880
unmarked wooden crates from Carpathia to London. You've got a rather honorable captain.

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00:19:33.039 --> 00:19:37.519
Captain Elliott played by Liam Cunningham,
has decided that this is going to be

246
00:19:37.599 --> 00:19:41.880
his last voyage. He's been at
c for a long time and he is

247
00:19:41.920 --> 00:19:48.759
ready to retire to Ireland. Now
he has anointed his first mate called Voydcheck

248
00:19:49.000 --> 00:19:56.480
played by David dasml Chin, to
assume his post and joining the crew in

249
00:19:56.799 --> 00:20:02.960
this voyage, which shouldn't take too
any days, is a well spoken Cambridge

250
00:20:03.079 --> 00:20:07.400
educated doctor virtual est and talk himself
onto the ship. His name is Clemens

251
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played by Corey Orchards, And at
first the ship makes steady progress, in

252
00:20:11.960 --> 00:20:15.960
fact so much so that everybody's in
line for the monetary bonus that's going to

253
00:20:15.000 --> 00:20:18.720
come with their early arrival in Portland. They're discussing how they're going to spend

254
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the money. Then they discover a
stowaway, a stowaway called Anna played by

255
00:20:26.799 --> 00:20:33.880
Aisling France Siosi, and she is
at death Store. She really isn't,

256
00:20:33.960 --> 00:20:40.400
and her discovery changes everything. So
her survival is squarely in the hands of

257
00:20:40.440 --> 00:20:47.319
the medico that I mentioned Clemens,
who arranges ongoing blood transfusions while they are

258
00:20:47.559 --> 00:20:51.079
obviously on board the ship. And
it's a portend of what's to follow.

259
00:20:51.720 --> 00:20:57.039
As for centuries, Anna's village has
been plagued by the bloodthirsty Dracula, so

260
00:20:57.920 --> 00:21:02.839
well, that means it all.
And ship adoomed and they're stalked each night

261
00:21:03.359 --> 00:21:07.640
by a merciless presence. And when
the Demeta finally does make it to England,

262
00:21:08.240 --> 00:21:15.119
it is as a charred, derelict
wreck. In Bram Stoker's book,

263
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the ship's final voyage is written as
an excerpt in excerpt in a daily newspaper.

264
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And the screenwriters here have adapted that
and they've run with it. So

265
00:21:26.000 --> 00:21:30.319
we the audience watch as one by
one those aboard the Demeta are picked up

266
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and picked off. That's kind of
what happens. And what's the egga the

267
00:21:33.720 --> 00:21:40.119
christy noble that may have renamed it. But about the ten ten Indians or

268
00:21:40.119 --> 00:21:42.799
whatever, what's that books? Yeah, ten little Indians. I was thinking

269
00:21:42.839 --> 00:21:47.519
if that there were none, Yeah, and then there are none. I

270
00:21:47.559 --> 00:21:51.200
was thinking very much about that while
I was watching this movie. So Dracula

271
00:21:51.759 --> 00:21:56.839
himself grows from this gray shadowy figure
to this giant flying vulture with back wings

272
00:21:56.960 --> 00:22:02.680
and the store again, and it's
funny. I don't normally talk this much

273
00:22:02.720 --> 00:22:06.200
about production design, but I thought
the production and sound design were mighty on.

274
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This really enhanced the story. They
lay the foundations of the ordeal that

275
00:22:11.160 --> 00:22:14.720
is going to be faced by those
aboard the vessel, and I've very much

276
00:22:14.759 --> 00:22:18.000
got what I anticipated I would from
Dracula Voyage of the Demeta. That includes

277
00:22:18.160 --> 00:22:21.519
a little detail about those on the
ship, not a lot, but you

278
00:22:21.559 --> 00:22:26.000
get to know a few backstories.
Some are rough and ready, others are

279
00:22:26.000 --> 00:22:30.960
decent. But of course the real
story is their predetermined fate when they step

280
00:22:30.000 --> 00:22:33.480
on board, and there are lots
of people, lots of potential crew who

281
00:22:33.599 --> 00:22:38.640
basically opt out because they're the portent
of doom is there for all to see.

282
00:22:40.440 --> 00:22:42.920
A great deal of attention is focused
on the doctor and his desire to

283
00:22:42.960 --> 00:22:48.799
make sense of the world, not
just the world, actually also the entity

284
00:22:48.920 --> 00:22:52.599
that's plaguing the ship. So Corey
Hawkins comes across as a respectable man of

285
00:22:52.640 --> 00:22:57.279
science who has copped a bad rap
because of his color. He's a black

286
00:22:57.319 --> 00:23:03.839
man trust between the dock and Anna, whom he saves as the voyage unfolds

287
00:23:04.359 --> 00:23:10.559
and aisleing. Franciosi brings a greater
sense of understanding than the others to her

288
00:23:10.640 --> 00:23:15.359
representation of the castaway. The captain
runs a very tight ship, and he's

289
00:23:15.359 --> 00:23:18.400
an experienced navigator. Nevertheless, his
way out of his depth here that Liam

290
00:23:18.440 --> 00:23:26.720
Cunningham well captures his transition as fear
consumes all and there's curiosity and desire,

291
00:23:26.799 --> 00:23:32.119
desire to please. Actually they're the
hallmarks of his eight year old grandson Toby,

292
00:23:32.480 --> 00:23:37.799
played by Woody Norman. There's also
a very dark edge to David Dasmelchian

293
00:23:37.880 --> 00:23:42.119
as Voidchek. He's a Polish orphan
spent his entire life at sea, regards

294
00:23:42.160 --> 00:23:47.640
the Demetter as his one true home. So look, it does have impact

295
00:23:47.680 --> 00:23:51.279
Dracula Voyage of the de Metter,
but few, if any surprises, and

296
00:23:51.359 --> 00:23:55.319
at nearly two hours, I mean
it is a very long movie. It's

297
00:23:55.359 --> 00:23:59.079
a long set and it could have
benefited, in my opinion, from some

298
00:23:59.319 --> 00:24:06.119
prudent pruning. Nevertheless, the Norwegian
director andre ovred dao Is captured that the

299
00:24:06.240 --> 00:24:10.720
somber mood, the frightening essence of
the dracular story, and I suppose that's

300
00:24:10.720 --> 00:24:15.720
what it's all about. So that's
dracular Voyage of the Demeter a rated m

301
00:24:15.720 --> 00:24:21.359
A. What were your thoughts about
it, Greg King? I quite enjoyed

302
00:24:21.440 --> 00:24:23.599
this for much of the time.
Did you get anything you didn't expect?

303
00:24:23.680 --> 00:24:27.160
I've got to ask you that,
because I did not. Really. It's

304
00:24:27.279 --> 00:24:33.400
interesting how they've taken a short chapter
from bram soaperstracular novel and it stretched it

305
00:24:33.440 --> 00:24:37.680
out here almost a rating point,
with the backstory of the prow of the

306
00:24:37.759 --> 00:24:44.720
Gemita and what happened to them on
that voyage England when they were carrying a

307
00:24:44.799 --> 00:24:48.359
convent with Dracula's body in there.
I like the way that you only saw

308
00:24:48.440 --> 00:24:53.279
the character of Dracula or nos Feradrew
early on in small flegging limbshes that heightened

309
00:24:53.279 --> 00:24:57.400
the suspension tension with his character,
and then you see him in his full

310
00:24:57.400 --> 00:25:04.960
blown horror towards in and film there. The gloomy lighting created an impressive atmosphere

311
00:25:06.200 --> 00:25:10.960
that heightened the claustrophobic feel of the
film there. And I like to reference

312
00:25:11.039 --> 00:25:15.400
him. I like to carry Corey
Organs as a doctor there who values science

313
00:25:15.519 --> 00:25:19.720
over superstition and tries to rationalize what's
going on the ship there. You mentioned

314
00:25:19.799 --> 00:25:25.440
David gals Desmulsion there as the second
in charge here. I thought he was

315
00:25:25.559 --> 00:25:30.319
quite good with the role. And
then coming out Cunningham was also quite good

316
00:25:30.359 --> 00:25:33.440
Warts of Gravages as the captain there, and you feed for the safety of

317
00:25:33.480 --> 00:25:38.559
young Toby there. As you mentioned, day Joe. Often horror films do

318
00:25:38.759 --> 00:25:42.680
not do nasty things the kids,
but in this one he's sort of threatened

319
00:25:42.720 --> 00:25:47.359
a little bit there. The production
zone was quite good. The gloomy lighting,

320
00:25:47.680 --> 00:25:49.839
the storm and the claustrophobic setting all
world for me. Yeah, I

321
00:25:49.920 --> 00:25:52.720
agree. It was probably just a
little bit too long, but otherwise,

322
00:25:52.880 --> 00:25:56.480
no, this was quite good.
Now, Jackie, you don't normally like

323
00:25:56.599 --> 00:26:02.599
horror, so have you seen this
or I know with the genre of horror,

324
00:26:02.680 --> 00:26:06.119
Alex, I get a little bit
of reading of it beforehand, and

325
00:26:06.119 --> 00:26:08.400
I thought, no, no,
let's talk about that one. Yeah,

326
00:26:08.519 --> 00:26:12.759
I can understand. I can understand. We don't we don't get the ebgb's

327
00:26:12.759 --> 00:26:15.799
and not sleep for nights on end. I do want to sleep at night,

328
00:26:15.839 --> 00:26:18.039
yeah, exactly. Now, now, Peter, do you sleep well

329
00:26:18.039 --> 00:26:23.640
at night in walls that are so
thin that the motor vehicles that one one

330
00:26:23.680 --> 00:26:30.200
car driving past sounds like a mac
truck. What about you do you you

331
00:26:30.240 --> 00:26:33.799
get scared by horror or you embrace
it. I embrace it it. I

332
00:26:33.920 --> 00:26:38.880
like all genres, and this is
a good example of a well made horror

333
00:26:38.880 --> 00:26:45.440
movie. It's interesting to note that
the Nosferatu film that was the unofficial nineteen

334
00:26:45.519 --> 00:26:55.119
twenty two remake or adaptation of Bram
Stoker's chapter starts off with that voyage,

335
00:26:55.200 --> 00:27:03.519
with that ship arriving, and and
obviously with lots of poor tent about Dracula

336
00:27:03.680 --> 00:27:07.319
being on board. So I like
that. I think that corresponding sort of

337
00:27:07.359 --> 00:27:11.799
aspect was very good. The other
aspect of the film is I had a

338
00:27:11.880 --> 00:27:15.359
chance to speak to one of the
lead actors in the film, who's an

339
00:27:15.359 --> 00:27:22.359
Australian actor called Nikola Nikolaieth, and
he told me about the whole filming process

340
00:27:22.880 --> 00:27:29.720
and how they used very clever special
effects at Studio Barbersberg in Berlin where all

341
00:27:29.759 --> 00:27:33.839
the interiors were shot. Yeah.
Yeah, In fact, that studio is

342
00:27:33.880 --> 00:27:40.799
becoming a go to for so many
producers and films. It's incredible, very

343
00:27:40.839 --> 00:27:45.880
busy studio. But anyway, they
spent a long time shooting the film.

344
00:27:45.920 --> 00:27:48.799
I think that he said it was
about three weeks when they were in Berlin

345
00:27:48.920 --> 00:27:56.680
shooting the film on this makeshift ship
and getting the effects right and getting all

346
00:27:56.440 --> 00:28:00.440
the cutaways right and all that sort
of thing. So it's very impressive.

347
00:28:00.480 --> 00:28:06.319
And of course the other location of
the film is Malta, and I saw

348
00:28:06.400 --> 00:28:12.359
that they used the the main harbor
or jetty area of Malta for the launch

349
00:28:12.400 --> 00:28:17.000
of the ship, etc. So
the production values of this film are very

350
00:28:17.079 --> 00:28:22.200
high, even though it was affected
by by COVID. It's a very strong,

351
00:28:22.559 --> 00:28:27.559
well made horror movie. Yes,
it's not necessarily totally original in so

352
00:28:27.759 --> 00:28:33.519
far as we know to some extent
where it's going, but that doesn't matter

353
00:28:33.599 --> 00:28:41.000
because it it does it well considering
that it's working with material that audiences may

354
00:28:41.039 --> 00:28:48.039
be familiar with. The Norwegian director
Andre Uvredal has done a great job in

355
00:28:48.359 --> 00:28:55.559
setting the scene and getting the atmosphere
right. It's interesting in publicity after the

356
00:28:55.559 --> 00:28:59.880
film was released, or was just
about to be released, he said,

357
00:29:00.039 --> 00:29:03.920
well, basically my film is Aliens
on a Ship. Yes, I read

358
00:29:03.960 --> 00:29:08.440
that well, I mean, well
Eddie is I mean, Greg made the

359
00:29:08.440 --> 00:29:15.039
point and it's a good one that
transition of Dractorific is better than most regular

360
00:29:15.079 --> 00:29:21.240
movies because initially it's just this you
get this darting across the screen, you

361
00:29:21.279 --> 00:29:23.880
can't even tell what it is.
Then it becomes gray, this sort of

362
00:29:23.880 --> 00:29:29.279
gray mass somewhere. Then you get
to see the teeth. I really liked

363
00:29:29.319 --> 00:29:32.759
that transition. I thought that worked
very well. Yes it did. It

364
00:29:32.799 --> 00:29:37.599
did. Now overall it was very
well filmed. I didn't I wasn't concerned

365
00:29:37.640 --> 00:29:40.079
about the running time at all.
It had to take it. Really.

366
00:29:40.680 --> 00:29:45.880
I'm surprised though, because you kind
of know what's happening, and I suppose

367
00:29:45.920 --> 00:29:49.039
the challenge here for any director is, well, how do you give it

368
00:29:49.200 --> 00:29:53.240
some sense of freshness? And I
think that was done with the atmospherics more

369
00:29:53.279 --> 00:29:57.920
than anything else. I think partly
it was the atmospherics pat it's character development.

370
00:29:59.599 --> 00:30:04.160
All of the characters were pretty well
developed though, everyone on the ship,

371
00:30:04.480 --> 00:30:10.359
and they weren't just used to throw
aways, but as important cogs in

372
00:30:10.400 --> 00:30:15.920
the wheel of trying to get this
ship to port. So look, I

373
00:30:15.960 --> 00:30:18.680
was very impressed by this film.
I think it's a very good horror film

374
00:30:18.799 --> 00:30:23.559
and well mate, So score out
of ten from here for Dracula Voyage of

375
00:30:23.599 --> 00:30:29.799
the Demeta one hundred and eighteen minutes
M I rated YEP. I definitely gave

376
00:30:29.839 --> 00:30:33.400
it a seven out of ten.
I gave it a seven as well.

377
00:30:33.480 --> 00:30:37.160
Greg, seven out of ten from
me as well, Well there you go.

378
00:30:37.599 --> 00:30:44.920
Okay, fantastic uniform agreement. Nice. Let us turn on J eighty

379
00:30:45.039 --> 00:30:49.839
eight FM to another movie, which
look, I mean, I suppose that

380
00:30:51.799 --> 00:30:56.440
I didn't know what to expect from
Chevalier. Look, I enjoyed it.

381
00:30:56.680 --> 00:31:06.000
I wondered whether another director may have
given it even more bites I as I

382
00:31:06.039 --> 00:31:11.480
say, I liked the concept,
but I wasn't totally sold on it before

383
00:31:11.480 --> 00:31:14.920
I go to detail. I'm curious
with the rest of you, Jackie,

384
00:31:15.000 --> 00:31:18.240
what did you think? Yes,
I agree it was all about the looks,

385
00:31:18.279 --> 00:31:22.799
and I just didn't feel the substance. And I don't think I'm really

386
00:31:22.480 --> 00:31:26.440
invested in it. I don't think
I believed in it. Yeah, I

387
00:31:26.440 --> 00:31:33.000
mean it's it's fascinating because I didn't
realize that Chevalier is a title, so

388
00:31:33.079 --> 00:31:37.799
I learned in terms of what that
all meant. What about you, Greg?

389
00:31:37.839 --> 00:31:41.079
Did you did you also feel I
didn't think it was a terrible film,

390
00:31:41.119 --> 00:31:45.599
but I was somewhat disappointed, and
you I enjoyed it to a point

391
00:31:45.640 --> 00:31:52.240
there I thought I thought it was
saying, study of this guy, son

392
00:31:52.319 --> 00:31:56.599
of a slave sent to Paris to
his education, became a bit of a

393
00:31:56.599 --> 00:32:00.200
prodigy and in gets caught up in
the revolutionary further there. I liked the

394
00:32:00.200 --> 00:32:04.240
production design. I thought it was
good. I thought the opening secret when

395
00:32:04.240 --> 00:32:07.799
we first met him, when he
was playing against Mozart on stage, it

396
00:32:07.920 --> 00:32:15.240
was a great opening scene there.
I thought that by in Calvin Harrison Junior

397
00:32:15.359 --> 00:32:19.240
had a lot of charisma. It
was very willing. I just didn't think.

398
00:32:19.599 --> 00:32:23.839
I suppose I've wanted a bit more
nuanced. I maybe that I liked

399
00:32:23.880 --> 00:32:27.759
it. I don't, don't get
it wrong, I'd recommend that, but

400
00:32:27.880 --> 00:32:31.759
I suppose I anticipated something more,
or something a little bit more resigned.

401
00:32:31.960 --> 00:32:36.599
What about you, Peter, just
your instinct on this well, But my

402
00:32:36.640 --> 00:32:40.799
first instinct was is this a biopic
of Maurice Chevalier. So I was glad

403
00:32:40.839 --> 00:32:47.319
to see that it was, and
it's based on a true story, so

404
00:32:47.640 --> 00:32:51.839
look, I went with it.
I thought it was pretty good overall.

405
00:32:52.319 --> 00:32:57.319
I just wish it was in French
because it would have led more credence to

406
00:32:57.519 --> 00:33:00.680
the film. Yeah, You've said
this to me before as well, and

407
00:33:00.160 --> 00:33:05.559
it's always a challenge, isn't it
if you're representing somebody whose first language isn't

408
00:33:05.599 --> 00:33:09.400
necessarily English and you're putting actors there
that speak in English, Yeah, it

409
00:33:09.440 --> 00:33:14.680
opens that that window share. We
say, look, it's out of nate

410
00:33:14.680 --> 00:33:17.599
minutes, it's m rated, and
it's a film that pulls no punches.

411
00:33:17.960 --> 00:33:22.480
It sets out to push buttons and
it certainly does that. And it's set

412
00:33:22.519 --> 00:33:29.160
in eighteenth century France. Story of
Joseph Bologna born in seventeen forty five on

413
00:33:29.200 --> 00:33:36.359
the island of Guadaloupe in the Caribbean. It was the son of a sixteen

414
00:33:36.480 --> 00:33:43.599
year old single slave called Nanor and
a wealthy French plantation owner. So there

415
00:33:43.599 --> 00:33:46.559
you got the no nos straight away. But anyway, as a child,

416
00:33:47.079 --> 00:33:53.359
his father, the plantation owner,
sent him to an academy to study music,

417
00:33:53.720 --> 00:34:00.759
mathematics, literature and also fencing,
and he excelled. Joseph only excelled.

418
00:34:00.880 --> 00:34:07.440
He became a virtuoso violinist, quite
the ingenious composer and a champion swordsman.

419
00:34:08.199 --> 00:34:14.840
And the French Queen Marie Antoinette recognized
his genius gave him the historic title

420
00:34:14.840 --> 00:34:20.639
And this is where I learned Chevalier. In seventeen sixty two, so for

421
00:34:20.679 --> 00:34:24.920
a time he was actually one of
the most charismatic and unexpected members of Antoinette's

422
00:34:24.960 --> 00:34:29.760
in a Sanctum. But the problem, of course, was that he was

423
00:34:29.800 --> 00:34:32.880
a man of color, and that
simply wasn't acceptable at the time. His

424
00:34:34.000 --> 00:34:39.440
appointment outraged many, and the appointment
as Chevalier and the cards were forever stacked

425
00:34:39.440 --> 00:34:43.920
against him. Now, despite all
of that, he rose to high acclaim,

426
00:34:44.679 --> 00:34:46.679
but that was all. There was
always a higher power, or higher

427
00:34:46.679 --> 00:34:52.360
powers in general, waiting to tear
him down. A star crossed love affair

428
00:34:52.480 --> 00:34:59.320
with a married and gifted singer certainly
did not help his cause. I should

429
00:34:59.360 --> 00:35:04.119
mention that, and so it is
that Chevellier. The movie is inspired by

430
00:35:04.239 --> 00:35:09.559
the remarkable true life story of Joseph
Bologna, filled with many moving parts racism,

431
00:35:09.880 --> 00:35:15.840
entitlement, arrogance, just to name
three, written by Stephanie Robinson,

432
00:35:15.079 --> 00:35:22.280
and the language used is deliberately vitriolic
and as I indicated, intended to fire

433
00:35:22.360 --> 00:35:29.679
up audiences. It's hate filled tone
is particularly unpalatable, but it's important to

434
00:35:29.760 --> 00:35:35.760
understand the antipathy of the era.
He was forever swimming against the tide as

435
00:35:35.800 --> 00:35:40.960
some would never accept him. Simple
as that, and Greg reference Kelvin Harrison

436
00:35:42.079 --> 00:35:46.119
Jr. He comfortably straddles the requirements
of that role. Bologna knows how talented

437
00:35:46.159 --> 00:35:50.440
he is. In fact, he
has tickets on himself. He's also a

438
00:35:50.440 --> 00:35:53.840
black man in a white world.
Samara Weeding, I thought, well,

439
00:35:53.920 --> 00:36:01.039
she filled the part of a caged
bird desperate to break free. Marie Josephine

440
00:36:01.119 --> 00:36:08.719
and Bologna's brief interlude ignores societal constraints, but it's really only a matter of

441
00:36:08.760 --> 00:36:16.519
time before well reality, harsh reality
intervenes. Lucy Boynton, She's a queen

442
00:36:16.599 --> 00:36:23.119
under intense pressure will inevitably buckled to
accepted practice. Martin Sokus is quite ruthless

443
00:36:23.119 --> 00:36:30.199
as the Marquis Marie Josephine's husband,
whose word is deed. And then there's

444
00:36:30.239 --> 00:36:37.719
many Driver. She plays the scorns
songstress La Gumard, who knows which side

445
00:36:37.119 --> 00:36:42.679
her bread is buttered. Many of
the sets, the settings, and the

446
00:36:42.719 --> 00:36:45.599
costumes are sump choice that really looks
very, very nice. You know,

447
00:36:45.760 --> 00:36:50.679
this is a period drama, no
question about it at all. They're the

448
00:36:50.679 --> 00:36:54.039
work of a production designer called Karen
Murphy, costume designer Oliver Garcia, and

449
00:36:54.079 --> 00:37:00.559
Assetta great Is called Lottie Senna,
so plaudits to them, and the neematography

450
00:37:00.599 --> 00:37:04.320
I thought was also very very good, quite triumphant for jess All the director

451
00:37:04.320 --> 00:37:08.559
of Stephen Williams. And to me, it Chevalier really chooses not to dig

452
00:37:08.639 --> 00:37:15.079
deeply into its harrowing subject matter.
It's to me a tabloid representation of shameful

453
00:37:15.159 --> 00:37:22.760
times. Jackie Yes, And I
was worried about if it's such a good

454
00:37:22.800 --> 00:37:25.840
story, and it is a good
story about the amazing story about this man

455
00:37:27.880 --> 00:37:32.039
who was it high achieved, highly
accomplished in everything he turned his hand to,

456
00:37:32.679 --> 00:37:37.760
and being because it stood out because
he was a man of color.

457
00:37:37.440 --> 00:37:45.400
Why make all the adjustments to actual
historical fact when the story itself was going

458
00:37:45.440 --> 00:37:49.880
to be so amazing anyway. So
once you sort of saw and suspected,

459
00:37:50.039 --> 00:37:54.159
and I later read about the things
that were not at here it, you

460
00:37:54.320 --> 00:38:00.039
kind of felt skeptical about the whole
thing. So I took it as a

461
00:38:00.079 --> 00:38:04.800
period drama, almost as a fanciful
story in some parts of it, and

462
00:38:05.400 --> 00:38:08.760
it had an unreal feeling for me, bit fake. It was just a

463
00:38:08.800 --> 00:38:15.199
movie, but lovely to look at, adequate acting, nothing that blew me

464
00:38:15.239 --> 00:38:20.559
away there, But it's interesting Jackie, because when you this is an important

465
00:38:20.960 --> 00:38:25.800
consideration for any filmmaker and any dramatists
to be honest, if you read a

466
00:38:25.800 --> 00:38:29.639
book, and there's often a lot
more detail in a book than there would

467
00:38:29.679 --> 00:38:34.519
be in a movie because of you've
got more time. Arguably, if somebody

468
00:38:34.599 --> 00:38:38.280
just sees the film or just sees
the play or whatever, and they're never

469
00:38:38.320 --> 00:38:43.800
going to read the novel or whatever
it might be, you believe what you

470
00:38:43.840 --> 00:38:47.239
see now? Is that dangerous for
me? That's reality? But is that

471
00:38:47.360 --> 00:38:52.599
dangerous because that's not They've rewritten history
in a sense. Oh well, it's

472
00:38:52.639 --> 00:38:59.800
not dangerous in this aspect because what's
the outcome going to be? A good

473
00:39:00.159 --> 00:39:05.360
will inspire you to actually go and
read further about it in denth and find

474
00:39:05.400 --> 00:39:07.760
out that. I don't think many
people will do that, do you.

475
00:39:07.840 --> 00:39:13.440
Honestly, Well, it's a bit
removed from us today. You know,

476
00:39:13.639 --> 00:39:17.440
it's a it's a historical piece piece. And I think also in the way

477
00:39:17.440 --> 00:39:21.800
it was presented, the you know, the it was there was kind of

478
00:39:21.800 --> 00:39:25.679
a flatness to the direction of it. It was doing the doing the historical

479
00:39:25.760 --> 00:39:30.360
drama by numbers it were. There
was nothing blowing me out of the water.

480
00:39:30.519 --> 00:39:35.599
About it that made me feel excited. Yeah, well, I mean

481
00:39:35.599 --> 00:39:37.719
I suppose I was a bit more
excited than you were. But I you

482
00:39:37.760 --> 00:39:42.280
know, I also, as I
said, I just thought it was a

483
00:39:42.320 --> 00:39:47.079
glossy version of something that could have
it could have dealt or delved into a

484
00:39:47.079 --> 00:39:50.000
bit of the detail more. I
mean, it would have made it a

485
00:39:50.079 --> 00:39:53.519
longer film. I suppose I can't
have it both ways, Greg, did

486
00:39:53.519 --> 00:40:00.320
you see a lot to like in
Chevellion? Liked it that maybe go away.

487
00:40:00.360 --> 00:40:05.119
I want to learn a little bit
more about the true story behind find

488
00:40:05.159 --> 00:40:08.159
it All and essentially putting out They'm
taking a lot of liberties with the facts

489
00:40:08.199 --> 00:40:13.119
now, but that often happens with
these bio pips for dramatic purposes there.

490
00:40:13.360 --> 00:40:15.800
But as I said before, I
liked the production design. I like the

491
00:40:15.840 --> 00:40:17.880
story, and I like the character
and what he went through there and how

492
00:40:17.920 --> 00:40:23.119
he sort of became fell from being
one of the toasts of Paris because of

493
00:40:23.239 --> 00:40:27.840
his musical prodigy there to fall down
a favor because of the color of his

494
00:40:27.920 --> 00:40:35.079
skin and somehow disappointing Murray and Trinette
there and then chalk up the revolutionary further.

495
00:40:35.320 --> 00:40:37.440
There was happening in the streets there, and I like that contrast between

496
00:40:37.920 --> 00:40:44.559
the sort of opulence of Paris and
poverty of the streets here, which he

497
00:40:44.800 --> 00:40:47.760
came across a couple of sides there. But I thought Kelvin Harrison Junior was

498
00:40:47.800 --> 00:40:53.199
a really great charismatic performer. Bought
the character is alive and fit the part

499
00:40:53.280 --> 00:40:59.920
perfectly. And I agree Martin Cossetts
there was quite nice good as the villain

500
00:41:00.119 --> 00:41:02.639
the piece show to speak there,
the often plays villains quite well there.

501
00:41:04.639 --> 00:41:07.679
Yeah, but that's new in quality
to him there as well. But I

502
00:41:07.679 --> 00:41:13.400
thought of Passu, the music,
the production design or were fabulous. I'm

503
00:41:13.440 --> 00:41:16.039
pleased to hear that. What about
you, Peter, do you have favorable

504
00:41:16.079 --> 00:41:22.559
thoughts or otherwise reasonably favorable thoughts apart
from the language issue, which I thought,

505
00:41:22.599 --> 00:41:28.880
okay, I can go with that. Talking about biopics, I would

506
00:41:28.880 --> 00:41:35.159
like to see any film that is
an absolutely one hundred percent accurate representation of

507
00:41:35.280 --> 00:41:39.800
the story that it is telling.
It doesn't happen. Film narrative, film

508
00:41:39.880 --> 00:41:44.280
is an adaptation. It always will
be. I mean, how many people

509
00:41:44.320 --> 00:41:51.199
are going to see Barbie and expecting
it to be a documentary. So something

510
00:41:51.360 --> 00:41:58.920
is that history is often rewritten anyway
in books and it's interpretation, but here

511
00:41:58.960 --> 00:42:02.880
often characters combined. I mean,
that's what happens because of course, and

512
00:42:02.960 --> 00:42:10.280
the nature of this means that often
history is rewritten or perceived by what by

513
00:42:10.320 --> 00:42:14.880
popular culture, right, And that's
what we're That's what I'm talking about here,

514
00:42:14.920 --> 00:42:17.360
because I'm not sure how many people
are really students of history, right,

515
00:42:17.920 --> 00:42:21.599
And it's fascinating if you think about
it. In the real world,

516
00:42:22.440 --> 00:42:25.679
you've got the Japanese will write their
history one way, that the Germans will

517
00:42:25.679 --> 00:42:29.840
write their history one way, the
Russians will write their history one way.

518
00:42:30.039 --> 00:42:34.920
And you know, we're not naive
enough to think the way that we represent

519
00:42:35.000 --> 00:42:37.800
things in Australia or England or the
US is the way the world sees it.

520
00:42:37.840 --> 00:42:43.519
That it would be far more convenient
and I daresay would have less wars

521
00:42:43.519 --> 00:42:46.320
and less conflict if everybody perceive things
in the same way. So I suppose

522
00:42:46.719 --> 00:42:51.880
you know that the propaganda machine is
alive and well in the real world,

523
00:42:51.920 --> 00:42:55.239
So why shouldn't it be in movies
Because obviously behind all of this is money,

524
00:42:55.320 --> 00:43:00.519
and very few people want to put
out films that don't make Let's be

525
00:43:00.559 --> 00:43:05.360
honest, exactly so it's always going
to be a commercial proposition and it will

526
00:43:05.400 --> 00:43:09.840
always be what works best dramatically in
terms of storytelling. So I thought with

527
00:43:09.960 --> 00:43:15.000
Chevalier that was fine. I went
with that, and I think Jackie said

528
00:43:15.039 --> 00:43:20.960
that people are much more inclined to
do research or to find out more information.

529
00:43:21.119 --> 00:43:24.800
We are much more media literate than
we used to be, and certainly

530
00:43:24.880 --> 00:43:31.920
from schools that are teaching young people
to be media literate, to not accept

531
00:43:31.960 --> 00:43:37.920
anything without question or that sort of
thing. I think that's terrific anyway,

532
00:43:37.119 --> 00:43:43.960
So Chevalier, it's interesting that Joseph
Bologna's music was meant to be lost for

533
00:43:44.000 --> 00:43:50.320
so long, so they finally discovered
a long piece of music and that was

534
00:43:50.400 --> 00:43:53.840
able to be used as a significant
part of the film, which is great

535
00:43:53.880 --> 00:44:00.199
to see. So and obviously his
musical heritage is now very important. They're

536
00:44:00.199 --> 00:44:04.639
obviously doing more work to find more
of his music. I like Chevalier.

537
00:44:04.719 --> 00:44:09.400
I think it was reasonably well done. It's dramatically work well. Martin Chokas

538
00:44:09.440 --> 00:44:15.639
as always is very good. Lucy
Boynton as Marie Antoinette, what a strange

539
00:44:15.320 --> 00:44:22.239
characterization of Marie Antoinette, who just
walked the streets and just had a very

540
00:44:22.320 --> 00:44:25.920
open sort of relationship with the people. That's not what historically we are told.

541
00:44:27.360 --> 00:44:32.039
But that's fine. It's a it's
again a dramatic interpretation overall. I

542
00:44:32.079 --> 00:44:36.760
like the film. Oh yeah,
okay, so that's kind of a bit

543
00:44:36.800 --> 00:44:39.239
a bit lukewarm. Let's start with
you then, Peter score out of ten?

544
00:44:39.760 --> 00:44:44.519
Yep, I give it six out
of ten. Great, uh,

545
00:44:45.360 --> 00:44:49.000
six and a half. Okay,
Jackie, I'll be interested in there's let

546
00:44:49.000 --> 00:44:52.440
me see if I can predict somewhere
in the six six range as well.

547
00:44:53.159 --> 00:44:57.960
Absolutely on a six. Yes,
it's more for a livill corvit. And

548
00:44:58.239 --> 00:45:02.800
just to add to Peter's comment,
I mean, if everything in a historical

549
00:45:04.800 --> 00:45:09.320
drama or film is real, that's
a documentary. But with this, when

550
00:45:09.320 --> 00:45:15.760
you're when you're twisting actual facts and
actually presenting things that apparently, according to

551
00:45:16.159 --> 00:45:21.960
actually didn't happen, such as the
very dramatic opening scene of this in a

552
00:45:22.079 --> 00:45:29.639
violin duel with Mozart that apparently actually
didn't happen. Why you know? To

553
00:45:29.719 --> 00:45:35.000
me like the still, what I'm
saying is the story was amazing enough without

554
00:45:35.039 --> 00:45:40.639
having to invent an impetitive but Jackie
Gregg said it was a particularly poignant opening

555
00:45:40.639 --> 00:45:45.599
scene. It really dragged him in. Now so that anything didn't happen.

556
00:45:46.360 --> 00:45:51.119
Yeah, I still thought it was
a great obs seat seen, especially with

557
00:45:51.159 --> 00:45:57.159
agree mobsart. I agree that it
didn't happen. And if something in What's

558
00:45:57.280 --> 00:46:05.480
What's intended to be a representative of
a historical story about an actual person based

559
00:46:05.519 --> 00:46:09.960
on truth, there's enough there.
Surely there was enough in this man's life

560
00:46:10.159 --> 00:46:15.239
to put on the screen without actually
inventing parts of his life. Now,

561
00:46:15.360 --> 00:46:20.360
all right, we are going to
the other movie I wanted to talk about

562
00:46:20.400 --> 00:46:22.239
today. I'm going to save it
to next week. It's called Grand Turismo,

563
00:46:22.679 --> 00:46:27.119
which also opened on Thursday, because
I wanted to talk about one other

564
00:46:27.159 --> 00:46:30.079
thing, Jackie, with you in
particular, but also the others. I

565
00:46:30.119 --> 00:46:34.920
saw a play and you and I
were having a chat only the other night

566
00:46:34.960 --> 00:46:40.719
about this in terms of the real
life and the horrible situation again in terms

567
00:46:40.760 --> 00:46:45.360
of the way the treatment of women, the relationships and so forth, and

568
00:46:45.480 --> 00:46:50.199
what can go wrong. And I
saw a play that I wanted to mention

569
00:46:50.320 --> 00:46:54.719
called Love with No Remorse. Now, unfortunately today Sunday is the last day

570
00:46:54.719 --> 00:46:58.159
you can see it. If you
get the chance, it may be worth

571
00:46:58.159 --> 00:47:01.719
seeing. It's at the meat market
stables in North Melbourne. And even with

572
00:47:01.760 --> 00:47:05.880
the best will in the world,
the path defining and sustaining the love of

573
00:47:05.960 --> 00:47:10.119
one's life is often paved with potholes. And you've got a situation here where

574
00:47:10.119 --> 00:47:15.440
everything starts off really, really well
and there's a great deal of positivity and

575
00:47:15.480 --> 00:47:22.400
then things go sour. And it's
actually set in amongst the Arabic community.

576
00:47:22.519 --> 00:47:28.159
Now you've got a couple of younger
sisters, a lady. Then you've got

577
00:47:29.760 --> 00:47:34.239
you've got an older sister whose name
is Sahar, played by Selene Corey.

578
00:47:34.360 --> 00:47:37.159
She's twenty nine years of age.
She's smart, she's gregarious. She studied

579
00:47:37.239 --> 00:47:40.679
medicine, dropped out after a couple
of years, and the reason actually for

580
00:47:40.880 --> 00:47:45.400
that becomes a pivotal plot point.
She now works as a pharmacy assistant,

581
00:47:45.400 --> 00:47:51.360
so she's gone from second year medicine
to working in a pharmacy. She's yet

582
00:47:51.360 --> 00:47:55.159
to meet mister Wright. But then
Isaac played by Emmanuel Eos mat Cheetahs,

583
00:47:55.840 --> 00:48:00.559
this smooth talking lawyer, steps into
her life and the connection between them is

584
00:48:00.960 --> 00:48:05.960
palpable. Both, as I mentioned, from Arab backgrounds. Although his parents

585
00:48:05.960 --> 00:48:10.039
are well to do, whos are
not. Cracks start to appear in the

586
00:48:10.079 --> 00:48:19.400
relationship just before they marry, and
these cracks concern differing value systems and they

587
00:48:19.440 --> 00:48:23.719
become gaping holes and the resultant fallout
is incendury. You've got a first time

588
00:48:23.719 --> 00:48:29.840
film writer called Tuka shook Kor given
us quite a gritty look at reality,

589
00:48:29.880 --> 00:48:34.360
at love and loss, how imbalance
and domestic violence, and that's what we

590
00:48:34.360 --> 00:48:37.639
were talking about, sort of Jackie, that the situation in the real world

591
00:48:37.719 --> 00:48:44.239
has gotten any better, and whatever
we throw at it as an issue in

592
00:48:44.320 --> 00:48:50.639
society, it doesn't. It hasn't
done the trick, and we whatever needs

593
00:48:50.679 --> 00:48:54.239
to happen, it needs to keep
happening, and we need different techniques because

594
00:48:55.320 --> 00:49:02.679
it shows no sign of relenting,
does it. No, it's no,

595
00:49:02.800 --> 00:49:07.920
it certainly doesn't. And there are
campaigns that they run from time to time,

596
00:49:07.960 --> 00:49:12.760
Government runs from time to time,
but so far it really hasn't had

597
00:49:12.760 --> 00:49:16.639
an impact in twenty twenty one,
which was that I don't have last year's

598
00:49:16.639 --> 00:49:22.199
figures, but you know, sixty
one women in Australia were chilled by a

599
00:49:22.280 --> 00:49:28.280
partner or former partner and it's continuing. It's at the moment I think it's

600
00:49:28.280 --> 00:49:34.880
one every nine days in Australia,
and one might say a man every every

601
00:49:34.880 --> 00:49:39.320
one man a month, but it's
just too high for vulnerable women to be

602
00:49:39.360 --> 00:49:45.000
in this situation. Yeah, and
it's interesting because in the program, which

603
00:49:45.039 --> 00:49:51.480
I don't read until afterwards, there
is a note of that it basically says

604
00:49:51.559 --> 00:49:54.360
exactly that today I ask you to
count your fellow audience members. I'm reading

605
00:49:54.400 --> 00:49:59.599
from the program from one to six. Every time you reach six, no,

606
00:49:59.840 --> 00:50:04.360
the one of each of those six
is a survivor of domestic violence.

607
00:50:04.840 --> 00:50:09.079
It's obscene and unconscionable to think that
in such a progressive country such as Australia,

608
00:50:09.440 --> 00:50:13.760
we see the statistic, you know, I mean, and I suppose

609
00:50:13.800 --> 00:50:15.639
that's one of the reasons that I
wanted to talk about it. Look,

610
00:50:15.679 --> 00:50:21.360
it's a hard watch at times,
and it's an appropriately hard watch. The

611
00:50:21.960 --> 00:50:25.360
instincts of the first time right at
Tuka Shakur strong, but as a piece

612
00:50:25.400 --> 00:50:30.360
of work it needs significant tightening.
It feels too drawn out. It was

613
00:50:30.360 --> 00:50:35.119
a round about two and a quarter
hours class interval, and to me ninety

614
00:50:35.159 --> 00:50:39.119
minutes would would have served the piece
well. The actress Selene Couri is the

615
00:50:39.159 --> 00:50:45.159
glue that binds the production together.
She's accomplished in the lead really is bringing

616
00:50:45.280 --> 00:50:49.719
light and shade to her portrayal of
the twenty nine year old Sahar who turns

617
00:50:49.760 --> 00:50:54.880
thirty in the production emmanually. Osmacheetahs
carries himself very well as Isaac is a

618
00:50:54.920 --> 00:51:02.760
wolf in sheep's clothing. I also
appreciated Vivian Manes as the kindly pharmacy customer

619
00:51:02.840 --> 00:51:08.599
Daniel who takes a shine to Sahar. Stephy Gill milks her scenes as Isaac's

620
00:51:08.599 --> 00:51:15.480
self assured legal assistant Bianca. And
there's a twelve person cast. Quite a

621
00:51:15.519 --> 00:51:17.159
bit of a mixed bag. Actually, some are more adept at their craft

622
00:51:17.159 --> 00:51:21.599
than others. That cavenius nature of
the venue. This is not the first

623
00:51:21.599 --> 00:51:24.639
time I've mentioned this means that some
voices don't carry as well as they should.

624
00:51:24.679 --> 00:51:30.599
Now that really is a problem in
theater if you've got to allow for

625
00:51:30.639 --> 00:51:35.000
that, if you are an actor
or dare I say, choose another venue.

626
00:51:35.039 --> 00:51:37.360
That's easy for me to say is
the cost of the venue obviously dictates

627
00:51:37.400 --> 00:51:42.480
where you can go. Look.
The biggest beef though that I had with

628
00:51:42.559 --> 00:51:46.039
Love with No Remorse, certainly not
the subject matter. It concerned the multitude

629
00:51:46.039 --> 00:51:52.559
of scene changes. I can honestly
say I have never witnessed more scene changes

630
00:51:52.800 --> 00:52:00.320
in a play, and that frequency
really needs addressing. Changing the first and

631
00:52:00.360 --> 00:52:06.719
furnishings every few minutes became tiresome and
to me it was an unnecessary distraction.

632
00:52:06.920 --> 00:52:09.599
There was music and it went it
faded to black kind of thing. Look,

633
00:52:09.800 --> 00:52:15.840
it adds meny unnecessary minutes to the
running time and I was thinking perhaps

634
00:52:15.880 --> 00:52:19.880
a video based approach may have hit
the mark more. And you know,

635
00:52:20.000 --> 00:52:23.079
we then could have just moved on. But it does deal with important societal

636
00:52:23.119 --> 00:52:28.679
issues. The director, I Reckon
needed to find ways to reign in the

637
00:52:28.719 --> 00:52:31.440
production. But it is on at
meat Market Stables if you haven't been there,

638
00:52:31.599 --> 00:52:35.360
quite an interesting venue. There's a
couple of meat there's a meat market

639
00:52:35.400 --> 00:52:37.960
stables and then there's a big venue
around the corner in North Melbourne called the

640
00:52:37.960 --> 00:52:40.880
meat market. So, Greg,
have you ever been or not to the

641
00:52:40.960 --> 00:52:46.039
venue a couple of time? It's
a small venue a venue. I think

642
00:52:46.039 --> 00:52:50.320
you must have gone to the meat
market stables. Were you on the corner

643
00:52:50.360 --> 00:52:53.000
there is that? That? Yeah, that's the neat there's a couple of

644
00:52:54.039 --> 00:52:58.280
theaters inside. But yeah, yeah, no no, but what I was

645
00:52:58.440 --> 00:53:01.039
about to say to you. You're
quite right. But around the corner the

646
00:53:01.079 --> 00:53:06.440
meat that there's another venue which is
large, very large, and that's the

647
00:53:06.440 --> 00:53:10.800
meat market. And I remember my
own little war story. I went along

648
00:53:10.880 --> 00:53:15.199
to attend to play, and I
was running really close to the bone,

649
00:53:15.440 --> 00:53:19.079
and I ended up going to the
wrong venue and missing the performance because I

650
00:53:19.119 --> 00:53:22.360
went to the wrong meat market.
So don't be confused. This is meat

651
00:53:22.400 --> 00:53:24.880
market stables, folks, im storry. But we've run out of time,

652
00:53:25.079 --> 00:53:29.159
so we are going to pick this
up again next Sunday. Great, thanks

653
00:53:29.199 --> 00:53:34.800
so much for your involvement, and
Peter Krauss always a blaper and Jackie Gibbon

654
00:53:35.159 --> 00:53:37.920
terrific. Nice to have you on
board. Folks. We will go to

655
00:53:38.000 --> 00:53:44.280
First On Film and Entertainment again next
Sunday. Till next week, I bid

656
00:53:44.360 --> 00:53:47.199
you adieu farewell from the program.