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Bastard Boys (2007)
A credit to all involved in creating it
Given the subject matter - a long-term strike on the Australian waterfront in 1998 by union employees while the Australian government tried to break the back of the unions - I watched 'Rove' and only recorded the first episode to watch later, thinking that if I got bored, I could easily delete the rest. Wrong choice!! Firstly a big bouquet must go to Sue Smith for yet another exquisitely sharp and economical script. The direction by Raymond Quint, and the wonderful performances by an array of top Australian actors - Anthony Hayes, Geoff Morrell, Lucy Bell, Daniel Frederickson - more than adequately supported the script, and so many stood out I feel bad only naming those 4. Rhys Muldoon's quirky and distracted Julian Burnside was beautifully crafted, and courageous also, given Burnside's recent and regular appearances in the media as the barrister for the refugees. Whilst the point of view of the writer was chiefly that of the workers, we were also taken on a regular journey into the struggles facing Chris Corrigan, the boss who was prepared to sell out to the government of the day to get the unions off his back.
I suspect that not many Australians would have seen this outstanding mini-series, given the usual Sunday and Monday night competition from the commercial networks. This is saddening, as this story needs to be seen by us all. It amazes me how quickly we all forget what came before.
Brilliant, just brilliant!!
I can't help thinking that the reaction I had to this tele-play (hilarity, surprise, horror, disgust, warm & fuzzies) was probably identical to how Shakepeare's original play was received in its day. Firstly, the casting was exquisite - Rufus Sewell was a big surprise to me, but perfectly cast as the boisterous and unpredictable Petruchio; Shirley Henderson spent much of the play enraged, but wonderfully (I'm stealing her word, 'Swivel'!!); and Stephen Tompkinson performed to his usually high standard as the sad manager to Katherine's sister, played by Jaime Murray.
What can I say that hasn't already been said? It was flawless, and like the other episodes of 'Shakespeare Retold', this play captured the feeling, the mood, the bawdiness of the original play, and in turn created an emotional response in the viewer which many stodgy and underdeveloped performances of the stage-play may not be able to reach.
And another thing......... I'd never thought much of Rufus Sewell, but in this he's something of a honey!!!
Sensitive Skin (2005)
Rather than being an out and out comedy, I feel that 'Sensitive Skin' is a whimsical and often understated comedic drama. Semantics, I know, but it must be pointed out that the comedy is mostly implied, rather than being delivered with punch-lines and laugh tracks, and the viewer is always allowed to choose both if they find this funny, as well as when. I feel this show is not for everyone. You have to pay attention, as some lines just slip by unannounced.
Firstly, the couple, played by Joanna Lumley and Denis Lawson, are both well past 50, and their son (played by the talented James Lance) is still an 'adolescent' of 30-something. Viewed from the outside the couple appear to have everything, but the whimsy is in recognising the ways in which they are unsatisfied, and the comedy develops as they go about kidding themselves that they are sorted.
As in any superior storytelling, the scripts make this show, but the cast deliver every line with the professionalism we've come to expect from them. The close-ups of Lumley's face as she shuffles through her thoughts or her memories, or searches for an appropriate answer to a query from someone is well worth the trouble it takes to tune in to this unique show.
Top Gear (2002)
You don't even have to like cars....
Yes, this show is about cars, but then again it isn't. Mostly it's about extremes of opinion, dreams and fantasies, dares, one-up-man-ship, and taking everything just a little bit further. And it's also entertaining - very entertaining, which is what television is meant to be, and so often is not. I'm not all that interested in cars, and my son doesn't even drive, but we both love the show, and watch it religiously.
The balance of presenters: Jeremy, the loud-mouthed, cuttingly funny, over-bearing older guy; Richard, the young, cute, quirky, adolescent one; James, the sensitive, quiet, contemplative, intelligent one; is nothing short of genius!
It seems that no expense is spared, either on the experiments and dares, or on filming, and this adds to the visual experience. This show is funny, even hilarious at times, classy, controversial, and hugely entertaining. Most people I know who watch this show know almost less than nothing about cars, and I think that says a lot about how successfully this program reaches beyond the expected demographic of young male petrol-heads.
Bodily Harm (2002)
God, this is great TV!
Being shown as a late-night re-run on local TV, I just had to watch it again to remind myself of how good this mini-series is. And it is good. No, it's great! There's something in it for everyone - from a 40's husband-father who doesn't want to grow up, to a wife who gives head to the local sleaze-bag, to a 13-year-old girl who has to be the grown-up in the family, to the husband's parents who just want to die together, and the sooner the better. It's all just happy families, really.
If the script is excellent, then the casting is even better. Spall and Manville are blisteringly good, but then they both almost always are. In the company of clever and successful people, Spall and his teen-aged daughter feel like glaring misfits, and yet I couldn't help but believe that they are the normal ones.
This series reminds me of why it is I watch TV in the first place. If I have to watch 100 hours of dross to then find this gem, then it's worth the effort!!
Hans och hennes (2001)
Well-told relationship film...
This film surprised me. It was recently televised in Australia on SBS-TV with sub-titles. It's not a great-looking movie; this disappointed me, because, being a Swedish film, I expected lots of beautiful scenery and beautiful people. Not so - both scenery and people were very ordinary, even a bit less than ordinary. But the story - essentially about a young couple whose quest to have a child delves beneath the surface of their relationship to expose the flaws in both the relationship and each other - is quite skillfully told. In particular, I enjoyed how Johan's earlier selfishness, once he finds the truth about his fertility, escalates into child-like temper tantrums. The resolution to the story, whilst a bit quick and too much of a total turn-around to be considered realistic, is satisfying all the same.
Whilst viewing this movie I kept thinking that it was so much better by far than all those cheesy relationship films which Hollywood churns out. It's a very universal story, and could have been just as easily filmed in China or Australia or Croatia or Iceland. It's well worth seeing.
Another highly addictive cop show
This series only began (on SBS TV) here in Australia around a month ago, and I'm already hooked!! Whilst not the best or the most original cop show there is, it's well made, and the stories are believable, and the characters of the police are well drawn. Mostly, I like the balance between the crime-of-the-week and the personal lives of the detectives, where the latter never ever seems to overshadow the former, as it should be, but the personal insights into regular characters gives them substance and dimension.
I'd recommend it to anyone who likes their crime shows on TV to be straight-forward and without too much fanfare and sensation.
Sea of Souls (2004)
To go into details about what this series is about may put off potential viewers, so I won't. Essentially, it focuses on the work of a small group of academics at a small department in a university in Glasgow. The stories are told as 2-part, self-contained movies, and are about the people and the mysteries that this department investigate - unexplained behaviour, such as the sharing of experiences by identical twins who have been brought up apart.
Some Scottish drama has been excellent - remember 'Takin' Over The Asylum'? - and whilst 'Sea Of Souls' may not be anywhere in this league, it is good, and it's worth tuning in. However, if you are a dyed-in-the-wool skeptic, you may find this show annoying. For me, I felt that the skeptical view was well represented, and the real absence of explanations, or neat conclusions to each story served the subject matter particularly well.
This is what TV is about........
"Shameless" began a couple of nights ago on SBS TV - supposedly an ethnic channel (are Mancunian's ethnic, then??) - in Australia, with no warning, no fanfare. I was blown fair out of my chair by this show, and possibly appreciated it all the more because I had no expectations, although once I noted Paul Abbott's name under 'writer' I knew I was in for something special. His scripts for 'Clocking Off' and 'Linda Green' were, like 'Shameless', both sharp and original. Dialogue is quick and relevant, characters are drawn immediately, and altogether the script treats the viewer as an intelligent participant in the hilarious, and often poignant, exploits of the Gallagher family. Dad Gallagher, always a bit the worse for wear on drugs or alcohol (or both) is raging around the room talking rubbish, and Fiona, eldest child, explains to her posh boyfriend that her Dad's ecstasy dealer is a schizophrenic, like that explains everything. Perhaps it does...... If you get the chance to see this, then don't miss it.
Djavolji raj (1989)
Gently evocative WW2 tale
I discovered this film in the mid 1990's, and was so impressed I bought my own copy on video. I would call this a film-buff's film. The performances of Tom Conti and Susan George are exceptional - I believe this to be Conti's best work since 'The Glittering Prizes' - and the locations are stunning, evoking the gentle and simple life of the riverside resort before the Germans turned up.
The characters played by George and Conti are thrown together in a marriage of convenience, as she and her son are hiding from the German invaders. The best scenes are when Conti and George share the screen, and this mysterious woman begins to develop respect, even affection, for the simple man who has been nominated to protect her.
Sensitively directed, the story is told in brief vignettes which help to convey the easy lifestyle of the characters who live at and near the resort. In essence, this is the story of Anrija's (Conti)true coming-of-age, when he's thrust into an adult situation he would never have had the chance to experience had the war not happened in his particular neck-of-the-woods. An all-round superb piece of film-making.
Lost in Translation (2003)
It stalks you for days........
Firstly, don't watch this movie if you want a laugh, or to be entertained. This is one of the few exquisite films which require more of the viewer than sponge-like passivity. You have to allow the characters to speak to you, and to enter their world if you are able, or if you dare. Some will not be prepared or able to do this - such is the nature of film-making as an art-form.
I've heard Scarlett Johansson in interview mention that she prefers little or no dialogue, and in this film it's clear why she says this. Scarlett Johansson is an actor, not a star - big difference - and her performance, along with Bill Murray's, is a joy to watch. I found their love affair - because that's what it is - to be exciting, realistic, and even traumatic at times, since the viewer is never sure how their relationship will pan out. Will they be brave enough to be honest with each other? There's a distinct line which they never cross, and I'm relieved that writer/director Sofia Coppola created that line; to have done otherwise would have been crass, and then this film would have become like so many other older man/younger woman stories.
I detected a gentle exchange taking place between the two main characters, in which the young woman - at the beginning of her marriage and her life - looks to this older man for a sense of direction and purpose in her life. Paradoxically, he looks to her for youth and enthusiasm and something which he feels he's lost, or perhaps never had. The fact that the story takes place in the alien environment of a Japanese city seems to me to be symbolic of how alienated we all feel at times in the world in which we live. I saw an irony in how shallow were the Americans which the Murray and Johansson characters met along the way, and then how Westernised some of the younger Japanese people had become, deliberately alienating themselves from their traditional culture. In searching for a sense of self, people generally choose to move away from the familiar, the comfortable and the expected. Those who resonate with this film are possibly taking this journey along with the characters.
Like fine wine.........
This show just gets better and better. One could call Andrew Denton Australia's Michael Parkinson, but I reckon he's better! Being on the ABC, Denton has no need to suppress his natural style, or to any way play the celebrity game; no show tunes or dumbing-down here, I'm pleased to say.
What makes this show special is Andrew Denton himself, and the fact that he's free to use his natural intelligence and wit, even his exuberance, to drive the show. The subjects of his interviews seem to open up naturally as a result of the space they are given, and the depth of research which is obviously done prior to the show. It's way more than: Tell us about your new movie/book/play, etc, which is the tedious grind of interviews on commercial TV.
May ABC-TV be wise enough to allow the bespectacled one to be the master of his own show for many years to come.
New Tricks: The Chinese Job (2003)
Another gem from the UK....
I'm a bit of a sucker for high-quality drama of any kind from the UK, and this series, although currently only 2 episodes old in Aust, appears to be no exception. Although it plays heavily on how detecting methods have advanced in 15-20 years, the true beauty of the writing and acting isn't buried beneath procedure, procedure and more procedure.
I've been a big fan of James Bolam's since 'When The Boat Comes In' in the late '70's. He is joined by Denis Waterman and Alun Armstrong, with Amanda Redman as their boss. The interplay between all 4 main characters is the true backbone of the series. The story so far isn't so much about old dogs having to learn new tricks as it is about the human interest behind the lives of each of the main characters, and this is beautifully drawn without too much explanation and hoo-ha. For me, it makes me consider the dreams and plans we all have in youth, and how it is we find ourselves in retirement, wondering 'What now?' Keep an eye out for Susan Jameson playing Alun Armstrong's wife, herself married to James Bolam in real life.
If you've ever wondered: Where are they now?, then they're probably in the series, 'New Tricks.'
Alexandra's Project (2003)
A very complex issue simplified......
This film is certainly not for everyone. If you loved `Lantana', then you might be ready for Rolf de Heer's `Alexandra's Project'. My late-20's son recommended I see this. His summary was that it simplifies and summarises a very complex issue - this issue of sexual politics between men and women within long-tern relationships.
This film is not meant to be realistic. It is meant to confront and to shock and to anger the viewer. Your response to this film will tell you everything about yourself, but little about the film. I consider it a rare work of genius. But it is obviously not for those looking for a nice night's entertainment.
Recently on `Big Brother 4' in Australia one of the young female evictees mentioned to Gretel Killeen, the host, that she hadn't removed all her clothing whilst showering in the BB house because her boyfriend had asked her not to, and she wanted to respect his wishes. Killeen replied with, `But it's your body, and it's your choice as to what you do with it.' The 22-year-old (who'd entered the BB house to `find herself'!!!) said `No, I wouldn't like it if the situation were reversed and he took off all his clothes.' This film is for girls like that!!! Unfortunately, the point would be lost on girls who believe that their boyfriends have ownership of their bodies. They would find this film boring and pointless.
For this reason, I feel that this film perhaps only speaks clearly to those - like myself - who have a personal experience of the issues it raises. Watch for the brief moment when Sweet's character fast-forwards through the tape when his wife begins to tell him - obviously for the umpteenth time!! - how unhappy she is. He says, `Yeah, yeah, heard it all before.' That moment was a concise metaphor for their relationship. Yes, the outcome is extreme, but it's not meant to be a skip and a dance down reality road.
See it if you dare.
Beautiful People (1999)
A little gem.......
I love British movies - most of them, at least - and this one was no exception. It was on late night TV, and the mention of Charlotte Coleman's name amongst the cast convinced me to stay up to watch it. Most everything which could be said about it has been said.
For me, it left me with a lot to think about. It was not a stab at realism, but had a strong impact all the same. I quite enjoyed the somewhat chaotic, circular storytelling style, as the viewer is reacquainted again and again with some characters, as they stumble through their lives.
My favourite set-up was the hospital bed companion of the Serb and Croat - himself a Welshman who hates the English, and is in hospital having been blown up with an incendiary device he was buying - to blow up English property, no doubt. He's forever trying to stop the Serb and Croat from killing one another, completely oblivious that his own blind prejudice - whilst justifiable - is destructive, and mirrors their own.
A must-see for fans of British film.
Gobble, gobble, gobble......
Yes - this show is the turkey of all shows, and on the ABC, too! I waited for this series to start early '04, and only managed to stomach about the first 5 episodes before I gave myself a break.
I can't, for the life of me, work out why such a good cast - John Waters, Libby Tanner, Jeremy Simms, Abe Forsyth, and more - agreed to help bring this to air. I've been trying to work out why it's so bad, and can't put my finger on one thing, because it's all bad! For instance, the episode shown 27/5/04 had Libby Tanner and John Waters sitting on their veranda eating and watching the rain falling, and two days later she's called out to a fire!! What?? Some of the continuity in the same episode is so bad that it's distracting.
But worst of all, the characters are unlikeable. There's not one character in this series who isn't either thick as a plank, or genuinely unpleasant, and the relationships seem to be based on lies and distrust, and a little bit of violence just to spice things up a bit.
I will not watch it again. I'd rather watch flies crawl up a wall.
Moulin Rouge! (2001)
Baz takes us to all those uncomfortable places.......
I've found Baz Luhrmann's work to date somewhat self-indulgent. I know, one can't blame anyone for throwing their heart and soul into what turns them on. I've enjoyed his attempts at surreality, but hadn't liked his subject choices. I waited until `Moulin Rouge' came on to TV, expecting to hate it. Oh, was I wrong! I reckon I held my breath for the whole 2-3 hours, totally stunned by the audacity of this film. The story has a simple premise, but the sets, the costumes, the editing - oh, the fantastic editing - and Luhrmann's vision, from which this film was created, hit me like a giant truck! I loved the song-jokes, corny and obvious as they were. It was a pleasure to watch a film without a car chase, an act of sexual violence, an asteroid threatening life on earth, a drug bust.... The theatrical mood of this film obviously doesn't appeal to all, but it works for those who loved Saturday afternoon pantos, and musical theatre. All the cast were superb, but special mention must be made of the brilliant Jim Broadbent, who can do anything at all....... Also, I believed Richard Roxburgh's Duke held the whole film together, giving us one of his more evil performances - and Richard has played his fair share of villains.
Can't wait to see Baz Luhrmann's next offering. Edward Albee on ice, perhaps?
The Perfect Storm (2000)
Cut the music - please!
What was potentially a good real-life-disaster movie was seriously spoiled by: 1) an endless musical score which rambled through the most severe storm scenes, distracting the viewer from what could have been a scary trip with the crew of the boat. 2) over-sentimentalising the process of death - something we're all going to experience sooner or later, so why is it always treated as such a great big deal? People die. Get over it!
Both the above are tendencies found only in US movies, and I wish film-makers would stop this. It immediately relegates good films to about the standard of midday movies. We don't need to be spoon-fed our emotional responses!! 4/10.
Other People's Children (2000)
Better than the book!
It's very rarely that a dramatisation of a novel outstrips it in intensity, but this TV adaption surprised me. Joanna Trollope's novel, like all her novels in my opinion (and I've read them all to date) was much gentler than the series suggests. Particularly strong were the child actors, showing the viewer with very few words how traumatic their parents' troubles were for them. Watching this, I was tempted to think that the children were the strong ones, and the adults could have done with standing in a corner for a while!
The adult cast is also strong, with particular mention of Denis Lawson - aging beautifully!!! - as the father ground down by the manipulating of his grown daughter, and also Lesley Manville as the very distressed and disturbed Nadine. Also worth a mention is Emilia Fox as Dale, the manipulative, but very childlike daughter of Tom, the Denis Lawson character. I almost didn't give her special mention because I've never yet seen a performance of hers which is anything other than extrordinary!
This is a very modern tale well told. A must-see for all who enjoy people-stories.
When the Boat Comes In (1976)
They don't make `em like this anymore!
I was thrilled to find this series on video at my local library, so I borrowed all copies. I'd been rapt in this series in the late 70's when it was shown on local TV, and again during its many repeats. This is superb television - excellent writing, acting, evocative locations, authentic sets - I could go on!
The characters of the members of the Seaton family are beautifully written and acted, and again, as 25 years ago, I feel that I know them. Jack Ford, played by James Bolam, is a subtle balance of strength and ambition, morality and compassion, but you wouldn't want to cross him! Bolam has a long list of credits to his name, but to me Jack Ford is his finest creation.
The producers brilliantly captured the struggle and destitution and stark inequalities of the post-World War l era in northern England. The Tyne-side accents, the `bonnie lads' and `tirra's' were like music in my ears - (even though I've never left the shores of this fair country!)
It was a pleasure to watch a story unfolding without extreme close-ups or hand-held cameras, which today simply interfere with the story-telling. I enjoy a TV program most when I feel I'm a priveleged, but unseen observer. "When The Boat Comes In" provides this level of enjoyment.
Japanese Story (2003)
A man, a woman, and the Pilbara.....
Having visited the Pilbara over 20 years ago, I was curious as to how it would be represented in a feature film. I was pleased that we were given the 2 sides - the mines, as well as the vast and beautiful landscape, with its dark and deadly underbelly. It was while touring through the Pilbara that I first realised that the earth was in charge, and could swat us mere humans any time it liked. As all the film critics have said so far in relation to this film, the Pilbara region of WA is the third main character in this film.
This is a film which takes its characters on a journey - beyond their own previous life experiences - and this journey forces them to let go of their defences and to expose parts of themselves they'd kept hidden, perhaps even from themselves. We accompany them on their journey, and it's possible that we also can experience a similar journey.
I thought the premise of this film to be a trifle cliched, but the handling of the material never is. We stay with the 2 characters when their four-wheel-drive is hopelessly bogged in the sand, and we experience their anger and frustration, their hopelessness, as well as their triumph. The film resists cliche and is never maudlin or sentimental.
The Pilbara performs wonderfully, as I knew it would. Toni Collette was outstanding, pushing herself into new and uncomfortable territory. Special mention must go to Gotaro Tsunashima, who gave a very honest and physical performance, as the uptight Japanese businessman. We warm to him at the same time as Collette's character begins to accept that there may be more to him than she at first thought.
Have no expectations, but just enjoy the experience. This is a rare and special film, and if you allow it to it will get under your skin and stay there for some time, just as superb films should. This film is up there with `Lantana'.
Pay It Forward (2000)
A good film spoiled by too much schmaltz.....
I'd managed to avoid this film until two days ago, when it was the only thing on TV which I hadn't already seen. I turned to it, giving it 15 minutes before I planned to turn it off. Well, surprise, surprise, I watched it to the credits!
No, I hadn't read the book, but I had seen the fuss around it when it was first released, and I was determined then to give it a miss. The penchant for sentimentalising the pain of loss in American culture generally grates the teeth of we from the colonies in the southern hemisphere, and this film is no exception. However, it's not done to the level of cringe-making, at least not until the final scene, which for me had overtones of the end of `Field Of Dreams'.
This film was saved by three quite exceptional individual performances - those of Haley Joel Osment, Kevin Spacey, and Helen Hunt. In particular, Kevin Spacey developed his character by internalising, even withdrawing his energy, so much so that it was possible to truly believe that he'd been a victim of horrific abuse. This was a pleasant change from the eccentric and energetic performances which have become Spacey's signature. Osment, as usual, carried the role of the child with his usual mastery. Few children of his age could achieve what he did in this film.
I consider that my mild enjoyment and appreciation of this film came from the fact that I hadn't expected anything from it. It's not great in my eyes, but nor is it a turkey. I found it entertaining, while the main concept presented by the story provided plenty of food for contemplation.
I read all the hype in advance of this program being shown on ABC-TV in Australia, and thought: yeah, yeah, show me something different. Maybe it's not too different, but it does deliver. I was a bit bored inititally by the straight delivery of MI-5 characters, and how terribly seriously they take their jobs. Matthew MacFadyen is a fine choice for Tom Quinn - he's big and tall, straight-faced, and very, very serious. Keeley Hawes is also very well cast, and eminently believable.
However the last two episodes shown here - the one about the mock terrorist attack, and last night's episode about the visit of the American presidential `circus' were rivetting stuff. I found myself holding my breath for a lot longer than was healthy for me! I was fascinated by how the US presidential entourage insisted they take over MI-5 files for `security purposes'. A metaphor for the world at the moment?? The suspicion that George Bush Jnr was visiting London specifically for a secret meeting with Colonel Gadaffi to negotiate compensation for Locharbie losses was very pertinent, given that Libya came forth with compensation - in the `real' world - just this week.
I look forward to more episodes of this straighter-than-straight, larger-than-life, but very entertaining series. I don't think it's very realistic, but then, who watches TV to indulge in more reality?
Takin' Over the Asylum (1994)
Few TV miniseries are as good as this one.....
Although this series was seen (and then soon after repeated) on Australian TV back in '94 or '95, it's brilliance still resonates. From the pen of Donna Franceschild, and directed by David Blair, it tells the story of a handful of 'loonies' - patients in a Glasgow mental facility. As in 'Girl, Interrupted', one is led to pondering the question: 'who are the real loonies?' Heavily laced with humour and poignancy, we - the 'normal' ones - are led into the lives of these people through the eyes of Eddie McKenna (Ken Stott), an alcoholic loser-type, whose desire is to be a radio disc-jockey, but who spends his days selling windows for the manager-from-hell. In my opinion, the salespeople at the windows company deserve to be behind locked doors far more than those in the institution. But I feel that this is the exact conclusion the writer wishes us to make. This series launched the extremely talented Ken Stott into regular TV appearances, such as 'Messiah' and 'The Vice'. It also features outstanding performances from David Tennant, Ruth McCabe, Angus McFadyen, and my favourite female actor, Katy Murphy. Ms Murphy seems to have a special knack for portraying wounded women. If you get a chance to see it, do.
The Magdalene Sisters (2002)
The truth is generally uncomfortable......
This is one of the most powerful and disturbing films I've seen in years. Not since `Guiltrip' - the 1995 Irish film about domestic violence - have I felt so angry, and so physically uncomfortable while viewing a film. Firstly, I'm more than impressed that Peter Mullan was able to tell this story totally from the female perspective, with no editorialising or excuse-making of any kind. He's simply told it how it was, and that was enough.
What struck me throughout the film was that the abusers - in particular the nuns - had obviously been severely abused themselves, and so to justify this treatment, they simply passed it on, claiming it to be the right thing to do under God, to tame the spirit of attractive or sexually experienced girls. (It's pertinent to note that today's terrorists also consider they have God on their side, and they are acting according to God's plan for the world.)
I thoroughly applaud Peter Mullan's film-making style, often using images rather than dialogue as a way of advancing the narrative. Who can forget the cry of the poor girl who'd been sexually abused by the priest? Over and over, like a wounded animal, she cried `You are not a man of God, you are not a man of God.....'
Anyone with a powerful sense of social justice can't help but be moved by this film. See it if you are strong enough.