SPOILER
ALERT! The plot will be discussed.
Following
last week’s Witness, here is another
film from Australian director Peter Weir, the 1982 movie The Year of Living Dangerously. Like Witness, it also deals with clashes between various cultures and factions,
and asks whether one must put the concerns of individuals over the commitment
to one’s personal career or associations. This story centers on Indonesia in
1965 ruled at that time by President Sukarno.
Steel
drums play to establish the tropical setting before the dark visuals reveal
anything discernible, accentuating the possible danger that exists here. There
is shadow puppetry on building walls that entertains children, but the playful
action contains violence. The image shows how danger exists here, and implies
the corruption of innocence. The use of the puppet image is used again later.
The action takes place in Jakarta. Reporter Guy Hamilton (Mel Gibson) arrives
in the city on his first overseas assignment as he hopes to make a name for
himself. Diminutive Billy Kwan (the female Linda Hunt, winning the Best
Supporting Actress Oscar for this role) is a male Chinese Australian
photographer, and is by far the most interesting character.
Billy
types information about Guy in a dossier and notes his impressions in a
voice-over. Billy says Guy is an enemy here because he is a Westerner and
Sukarno doesn’t like the West, and he is the voice of the Third World. Potter,
Guy’s predecessor in the job, was to meet him for a briefing but suddenly left
saying his wife was ill. Kumar (Bembol Rococ), the man who works at the
magazine branch office, says Potter was probably sick of Jakarta, summing the
man up as an uncaring foreigner who did not care for the country.
Kumar
says they have the first air-conditioned hotel because Americans and Europeans
there like it cool. The Indonesians are used to the heat which is symbolic of
the political climate. At a club, Billy says he worked with Potter. Billy
introduces Guy to other journalists including the lascivious Peter Curtis
(Michael Murphy) who writes for the Washington Post. They all know how hard it
is to work there without contacts. Billy’s narrative shows his opinion of Guy
as he observes how he, like “most of us become children again as we enter the
slums of Asia.” One senses the childlike feelings of “laughter and misery, the
crazy and the grim, toy town and a city of fear.” These feelings come from the
joys and fears derived from being naive and vulnerable in an uncertain
landscape, just like a child. Billy says Guy is scorned because he symbolizes
the West, and Guy says he feels like a “spittoon” as some spit at him.
Billy,
as if trying to be Guy’s mentor, takes him to the poorest section of the city,
and says the bible and later Tolstoy once asked, “What then must we do?” to
help others. Tolstoy went to the poorest section of his city, and was so moved
he gave all his money away. Billy asks Guy if he would do the same? Billy notes
that five dollars would be a small fortune. Guy says it’s a drop in the bucket,
and wouldn't have any real effect. Billy says that’s what Tolstoy concluded.
Billy says one shouldn’t think about the grand scheme, but “do whatever you can
about the misery that’s in front of you. Add your light to the sum of light.”
Guy gives the standard journalist answer that a reporter must not get involved
personally in the subjects of the story. Billy later narrates his assessment
that Guy is ambitious and self-contained. He is moderate to conservative in
politics, but Billy sees possibility in him, what he calls the “unmet friend.”
He seems to be assessing him for a role to play.
Guy goes to the President’s palace the next
day and meets the other journalists who must wait a long time until Sukarno is
finished his breakfast in a sort of scornful attitude toward the West. The
other reporters have made their contacts, but Guy has difficulty getting an
interview. He broadcasts at his station, saying that Sukarno attempts to walk a
precarious “tightrope” between the right-wing Muslim military and the communists.
His boss in Sydney said he didn’t provide hard news, just something that could
be observed back in Australia. So Guy is
feeling the pressure to produce.
Guy
is feeling miserable as he sits in his leaking office. Billy shows up and asks
if he got an interview. Since he didn’t, Billy says Potter sabotaged Guy by
leaving early without helping him get established. Guy says he’s waited a long
time for this chance and if he doesn’t deliver, his career is through. Billy
says outside of Sukarno, who would he want to interview? Guy says Aidit, the
head of the communist party there. Billy says he can get the interview for him,
and has already paved the way. It will make “quite a stir internationally,” he
says. Guy is a little suspicious of Billy being on speaking terms with Aidit.
Guy says if he can arrange it, then he will give Billy all the film rights
exclusively. Billy is happy, saying he wanted “a real partnership” but didn’t
pursue it with Potter because he didn’t like the man, probably because he didn’t
see any potential with him in getting the truth out about the people of
Jakarta.
Their
newspaper piece talks about how Sukarno has made an arms deal with the Indonesian
Communist Party. The story shows up in one reporter’s newspaper, and it’s well
written. The journalists are jealous, calling him “Sir Guy,” and Billy “The
Black Dwarf,” mocking their accomplishment. The Washington Post reporter, Pete,
says the story is a lie, and Aidit just used an inexperienced reporter to put
forth some propaganda. He says Sukarno wouldn’t risk a civil war by arming the
communists. The journalist says he’ll debunk Guy’s story and “piss” on it. They
start to fight, but the British reporter, Wally (Noel Ferrier) diplomatically
calms them down and says that maybe the piece should have included some
skepticism concerning the deal, but admits it was well-written. He gets Guy and
Pete to shake hands as professionals.
Some
time passes as Pete asks what does Guy do for sex, and mentions the cemetery,
where Billy says that’s where the prostitutes hang out. Pete says the sex is
great, but one guy says the prostitutes are riddled with venereal disease.
Billy, sarcastically commenting on the plight of the prostitutes, says that
“starvation is a great aphrodisiac,” which comments on how these westerners are
exploiting the local poverty. There is a reference that Billy hangs out with
the most beautiful girl in town, but Billy says it’s a friendship. At the bar,
Pete hires a small, strange man to do some singing and dancing for Guy, who is
embarrassed by the humiliation the person is subjected to just for some money.
Billy is angry at the display and Guy is embarrassed by this additional example
of the lack of concern for the plight of the local inhabitants.
Guy
and Billy walk to Billy’s place. Billy points out a picture of a dwarf and
says, “The one great advantage of being a dwarf is that you can be wiser than
other people and no one envies you.” Billy probably sees himself as having
intellectual power that nobody wants to acknowledge. Billy says Guy “doesn’t
see” in an emotional sense the reality around him because of his journalistic
distancing, which suggests Guy is not capable at this point of doing anything
about the problems of the world. Billy adores Sukarno, and believes he’s really
trying to help his people. He says he is a genius, admired as a god among his
populace. There are pictures on his wall showing people scrounging for rice,
but Billy complains that is not what the journalists are reporting. Billy isn’t
concerned about how artistic his photography looks, he is only interested in
the contents of what he is depicting. He is the opposite of what he said of
Guy, because he becomes involved with the people he interacts with. For Billy,
the subjects of the reporting come first for him.
Guy
notices Billy’s puppets, which brings us back to the opening sequence of the
film. Billy says Guy has to understand Wayang, the Sacred Shadow Play, to
understand Java. The Puppet Master is entitled the Priest. They call Sukarno
the Great Puppet Master, because he balances the left with the right,
politically. The shadows of the puppets represent the souls of people, and the
screens on which they are projected is heaven. Watching the shadows is what one
concentrates on as there is the constant struggle between the right and the
left. The Forces of light and darkness are in an endless balance. All of this
symbolism provides a supernatural, other-worldly dimension that transcends
reality. In the West, Billy says, people want answers for everything: it is
either all good or all bad, right or wrong. But, in Asia there is a different
philosophy, where no such final conclusions exist. Billy implies that there are
no simple, easy answers to complex problems, and the desire is for balance, not
the vanquishing of one side over the other. As a mirror is obscured by dust,
and a fire hidden by smoke, all things become clouded. So, there are no perfect
heroes, because men can be fickle and selfish, subject to desires, allowing the
soul to be blinded. In this mythic scenario there is a dwarf, who serves the
Prince, (as Billy feels he serves Sukarno?) Guy notices a photo of Jill Bryant
(Sigourney Weaver), whom Billy calls “My Jilly,” a familiar nickname, with the
“my” showing possessiveness on Billy’s part.
They
observe Col. Ralph Henderson (Bill Kerr), the British military attaché, at the
hotel, who Billy says Guy should meet. Jill is also there coming out of the
pool, and Billy tells her he wants her to meet Guy. Jill says she is ready to
go back home to England in a couple of weeks and is looking forward to it.
Henderson bullies the waiter, one may say he acts imperialistic, because the
man added ice to the gin and tonic, and the Colonel says that’s what the
Americans want. He then wants to race Guy in a swimming contest. Billy comments
that winning at games is very important to the British, which also hints at
England’s past hunger to rule the world. Guy lets Henderson win.
In
voice-over, Billy wants to find things that he and Guy have in common. He notes
that both he and Guy have mixed heritage, mothers who are Australian, but
Billy’s father is Chinese, and Guy’s dad is American. They “are not quite at
home in the world,” he says, not fitting well into any one place, which makes
them outsiders, not embraced as family anywhere. Kumar’s dad is being pressured
by the military to pay protection money for his shop. His pride is at stake
when Guy has extra cash and offers it to Kumar. Kumar says, “for my father,
I’ll play the beggar.” The scene stresses the dire economic situation in the
country, and the corruption as those in charge exploit their own people.
There
is a communist party protest at the American Embassy. Kumar says the PKI, the
communist party, is getting a great deal of support, and the marchers carry
signs showing Sukarno’s image. Kumar says the PKI will provide discipline. But
Billy, as was shown, is not a believer in any one political answer, and points
out that Stalin gave discipline to Russia and wiped out 10 million people as
the price for it. The protesters bring a dump truck carrying rocks and they
throw them at the embassy. They then start to ram the car with Guy and company
in it with a truck. Billy and Gus get out and record video and audio of the
mob. Instead of embracing the media attention, the crowd starts to attack the
two men, and one cuts Guy with a knife on his leg. But being dedicated journalists, their main concern is that they recorded the footage. The
adrenaline rush of getting the story is what dominates Guy’s desire, and Billy
wants to expose the anger at the West for not helping the Indonesians.
As
Billy bandages Guy’s leg at Billy’s place, Guy looks at Jill’s photo. Billy
asks what he thinks of her, and he says the British, like the Colonel, act too
superior. Billy says she isn’t like that. The man in the photo with her is a
French journalist with whom she was involved, but he was transferred to Saigon.
Billy says it’s difficult for Jill because men want to get her in bed within
five minutes of meeting her. Billy is pointing out how the sexist attitude
toward women dominates here, and reduces Jill to being a sex object. Guy makes
an unkind joke that it’s Billy’s job to keep the men at bay, like he’s a
eunuch. Guy realizes his insensitive remark and apologizes. Billy says he asked
Jill to marry him, but she turned him down. So despite his earlier statement of
just being friends, he, too, is attracted to her. Guy sees the file Billy
created on him and starts to become agitated wondering who Billy is working
for, such as the communists or the CIA. Billy says he keeps files on everybody
and isn’t working for anyone. He says he and Guy are friends and make a good
team. He then jokes, saying how they even look alike, having the same eyes.
Billy
says when he types “here on the quiet page, I’m master. Just as I’m master in
the dark room, stirring my prints in a magic developing bath.” The poetic words
take on a supernatural and ritualistic connotation. He is like the Puppet
Master in his solitude, away from the judgments of the world concerning his
small size, as he manipulates those moments he has frozen in time through his
power. As he looks at the pictures he has put on his walls, he says he shuffles
their lives like cards, having a sort of control over them. Outside his realm
these people will decay, become others, “betray their dreams,” and will
eventually turn into ghosts.
Billy
brings rice and a toy to a woman, Ibu (Norma Uatuhan) and her sick child. He
gives her money for a doctor. He narrates that he tries to make her and her boy
understand that the water they drink and bathe in carries disease. His words
demonstrate how he tries to practice what he preaches, trying to help those
right in front of him. In another place Billy says that Ibu could lead a good
life. This idea of circumstances of birth determining survival comes up again
later. Here she must beg and probably sell herself, and Billy knows her story
is repeated a million times over. The film emphasizes the anguish and
impoverishment that results when those in power, whether foreign or domestic,
continually exploit and neglect the poorer nations. Billy again asks the
question that he posed to Guy, “What then must we do?” He concludes that we
must give love to whomever God puts in our path.
As
poor natives look at money exchanged in the club, the journalists are drinking
champagne, as Wally says he has bought a
bungalow. The others wonder why anyone would want to take up permanent
residence there, seeing their role as information scavengers who are just there
to feed and move on. At Wally’s place, there is a party, with Billy, Guy and
Jill in attendance. Wally’s house boy brings him a drink, and Wally tells the
servant that he spoils Wally. Wally strokes him, suggesting a gay relationship,
that is exploitative given the socio-economic situation. The Colonel is there
also and says that Guy is young and can be forgiven for speculating in one of
his articles about a famine. Guy stands his ground by saying the event was not
speculation. Billy asks Jill about the article and she says it was a bit
melodramatic. The next shot is of Billy looking at Jill’s photo and saying,
“And so it begins,” which probably refers to the romance that will occur
between Guy and Jill. Billy may be jealous but at the same time wanted the two
to meet, and is instrumental in advancing the relationship because he wants
what’s best for Jill.
Perhaps
on purpose, Billy does not show up at the news office to meet Jill for lunch.
Guy offers to drive her to Billy’s place. On the way, he asks what she thought
was melodramatic about his story. She says she was a witness to the famine, so
she is not just getting the news second-hand, but has seen the atrocity and
wants the information revealed in the most effective way. From a writing
standpoint, she felt he repeated the physical description of the children with
signs of starvation more than necessary. He jokingly turns up the radio as if
to drown out criticism.
As
they get out of the car, the children touch them, and Jill comments that they
rub against their white skin, which implies they have been programmed to
believe it is special, possibly superior, or lucky, because the whites are so
rich in comparison to themselves. She asks why did he let the Colonel win the
swim race, and he admits that maybe it is because the man looks like his
father, bald and with a mustache. She knows that his father died in the war
because Billy told her, which shows Billy furthering their connection. Billy is
not at his house. Jill says Billy seems to be no threat with the way he looks,
and wanders into all the embassies, gathering information, with nobody wanting
to make a scene about trying to throw him out because of his vulnerable size.
She tells Guy that Billy keeps files on people he cares about, that he’s not an
agent, as Guy still suspected. She also points out a picture of the woman, Ibu,
and her son, who he has adopted and tries to help. Guy has to do interviews and
invites her, jokingly saying she can keep an eye on the melodrama.
Later
he asks what she does at the embassy and she is not very forthcoming, so he
guesses she is a spy. It starts to pour, and their drinks come, which become
flooded by the rain. They are drenched and get to his car. They laugh when he
asks what is it they are drinking, and she says it’s green stuff, and then he
plays off of what the Colonel said earlier by saying the drink should come with
ice. Her hat is soaked and he puts it on and says he should get one for the
interview, which she says he can have hers cheap. He drops her off, asks her
out to dinner, but can’t get her to go since she is leaving soon, saying it’s
too complicated. He says dinner isn’t complicated. He calls later, but she
refuses to talk with him. Despite their chemistry, she has already been hurt
before and doesn't want to get emotionally invested if there is no future for
the two of them.
Billy
tells Guy that he has an invitation to a ball at the British Embassy, and gives
him an incentive to attend by saying Jill will be there. Billy is again acting
like a go-between. The Colonel is suspicious when Guy swoops Jill outside so
they can kiss. She says she can’t leave with him because it will cause a
scandal and she reminds him she will be leaving soon. Disappointed, he goes, but
she hops in his car. The Colonel yells after her asking what is she doing? They
are living dangerously in a different way, the one involving matters of the
heart. There is a curfew reminder at the party to emphasize the danger and
restrictions here. But not for these lovers, as they drive through an armed
roadblock that has fire burning in drums as the soldiers start firing at them.
They duck and laugh wildly afterwards, showing how their passion has literally
made them reckless. Later, Billy strokes Guy’s bullet scarred vehicle, as if
vicariously enjoying Jill’s excitement and at the same time feeling the pain of
not being able to give her joy.
We
return to Billy’s narration as he again looks at Jill’s dossier. He is like a
psychiatrist analyzing his patients as he reviews their charts. Or maybe he
sees himself as a person who has been underestimated as to his power, and views
himself as someone who can alter the course of things, through his analysis and
manipulation of others. He is much more poetic, and is a better writer than
Guy. He says of Jill, she “has little religious feeling, yet has a reverence
for life. This is a spirit like a wavering flame which only needs care to burn
high. If this does not happen, she can lapse into the promiscuity and bitterness
of the failed romantic.” Billy sees Jill as a person who can either soar or
crash in the pursuit of love, and since he is not the one she loves, he takes
it upon himself to supply her with the best man.
At
the journalist's bar, the men make sexually suggestive comments about the fact
that Guy and Jill left the embassy together. They make lewd remarks, but Guy’s
reaction is to push away the leering Pete, and leave. As one of them says,
accurately, Guy is in love. The next scene has Guy trying to fix the car while
Jill sits in it. The two talk about staying and leaving. She says she wants to
travel to see firsthand what is going on, not read about it in some “yellow
journalism” piece, making a joke about the low quality of his type of news
coverage.
Working
at her job, she reads a top-secret communication. She goes out. It is raining
and the slick, wet streets are symbolic of her sexual arousal and longing for
Guy. She goes to his office, pulls him out and they go to have sex. She
confides in him that arms are being shipped to the local communists, which
means there will be a civil war. She says she told him this not for a news
scoop but to save him. She says if the communists take over they will kill all
foreigners. But, for him, because he is a reporter, he must stay. He says
Sukarno won’t be able to separate the Muslims and the communists, as Billy had
hoped.
Billy
meets Guy at his office and admits that he was also told in confidence by Jill
of the arms delivery. Billy says even if Guy gets independent confirmation
about the arms shipment, everyone will know he received the information from
Jill, and that will destroy her career and make her a security liability. Guy
says he can’t just sit on this story, since he most likely sees it as a warning
for the people of Jakarta. But he really wants to run the story because of his
desire to be a news-breaking reporter. Billy walks away from him in disgust.
In
another narration as he reviews Guy’s file, Billy says Guy has changed, and
maybe Billy was wrong about him. Billy sees Guy as being capable of betrayal,
since he sees how he put Jill in a precarious position because of his ambitions
regarding his job. He says that he abuses his journalist position and has
become addicted to risk. He makes a “fetish” of his career, and “all
relationships temporary,” if they hinder his zeal to get the story. Billy asks
why can’t Guy give of himself, why can’t he “love.” Yet we saw at the bar that
he wasn’t admitting to using Jill just for sex, and has true feelings for her.
Guy
goes to docks wanting a source to confirm when the shipment of arms will come
in. But he is warned that if he accidentally talks to a communist party member,
he will be in danger. He does a lot of traveling with Kumar to find where the
shipment might arrive. Kumar has them stop at what was an old Dutch villa to
rest for the night, but Guy has a troubled dream about being drowned by Tiger
Lilly (Kuh Ledesma), who runs the place. She earlier took a dive into a filthy
swimming pool, showing how there is no escape from the squalid conditions in
the country. His dream shows him psychologically experiencing the danger to him
(and probably the people) in Jakarta. Earlier Kumar said that the communists
might bring order to the country. Guy now realizes Kumar is with the PKI. Kumar
admits that there must be violent change to raise his country out of its
poverty and corruption. Kumar says Tiger Lilly is higher up in the PKI and
there is a death list which Guy is on. Kumar so far has protected him, but says
Guy must cease asking about the shipment of arms.
Back
at the hotel, Guy tries to call Jill. Pete, blaring American rock and roll
music, wants to celebrate with Guy because he has been assigned to Saigon,
where the Vietnam War is heating up. He flaunts his money, and the blaring
music, along with dancing with the local girls, show he has no respect for the
population. He sees the situation only as a source of exploitation. A man there
pulls out a gun and tells Pete and Guy to leave, the scene illustrating the
anger at the foreigners’ selfish presence. The two men drive and are accosted
by a gang of prostitutes. Pete wants to continue to take advantage of their
poverty and leaves to go with the women, while Guy becomes repulsed by the
scene, probably feeling guilty about the sordidness of what he sees around him
and to which the foreigners contribute.
Guy
goes to the British Embassy, but is told that Jill is not available. Billy
walks to Ibu’s place but sees women dressed in white, the color of mourning in
Asia. Ibu and a holy man are performing a death ritual. Billy walks away and
sees a picture of Sukarno, but he is no longer showing signs of adulation. He
sees people still fighting in the streets for rice, as children scoop it off
the ground. He joins the journalists at the bar celebrating Pete’s assignment
and talking about Sukarno’s arrival in the city. Billy mocks them, saying
wherever there is misery that is where the press goes, but he says they don’t
do anything to relieve the suffering. He has footage of the grain fights if
they want it to show the plight of the common people, instead of just reporting
the splashy news stories. Billy says they should tell the truth about Sukarno,
who has also changed (as he said about Guy). He now sees Sukarno also as a
betrayer, with his empty speeches, as he builds “monuments to his vanity” while
his people are starving. Billy agrees that Sukarno uses his people as objects
of pleasure. But, Billy accuses the reporters of doing the same, as he accuses
Wally of exploiting young boys for sex and Pete indulging himself with young
girls. They attack Billy, but Guy shows up and stops them, as Billy runs off.
Guy
catches up with him, and in the background there is a car on fire and there is
graffiti over Sukarno’s posters, with PKI written on them. A homeless man
crouches in the corner. It is a hellish landscape. Guy says the story was too
important to withhold to protect Jill. Billy says he would give up the world
for her, but Guy, “wouldn’t even give up one story.” He says he believed in
Guy, and thought he was a man of “light.” He gave him the stories to write
because he wanted him to “feel something” about what was “right,” He says he
and Jill gave him their trust. In casting himself as a type of god, Billy says
to Guy, “I created you.” He gave Jill (like Eve) to Guy (his Adam), and now
took her back because Guy doesn’t deserve her. He gave him the stories, to try
to make him feel things, see what was right. He walks away in disappointment,
feeling Guy has let them all down.
Back
at his place, Billy cries as he looks at a photo of Ibu’s child as mournful
operatic music plays, and he repeats, “What then must we do?” typing it over
and over. At a reception, Guy confronts Jill, and he says he did the broadcast
but made sure it was confirmed by the communists. She tries to excuse his
actions, saying she knew he was a journalist when she told him of the arms
information, but the hurt on her face is obvious, and she walks away.
Billy
has lost all faith in his leader, believes he has harmed the woman he loves by
picking the wrong man for her, and has seen the death of Ibu’s boy. He makes a
Christ-like sacrifice to carry the sins of his country and others, including
himself, to bring attention to the suffering of the people. He rents a hotel
room and hangs a sign out of the window that reads, “Sukarno, Feed Your
People.” There is a rush of police to his room, and after they break in, Billy
falls out of the window. Guy is there after following the rush of people and
covers Billy’s broken body. Billy smiles at Guy before he dies, as if forgiving
him.
Guy
finds Jill at Billy’s place where she wants to get his files before the
authorities get there. Guy says he was murdered and Sukarno didn’t even see it,
so he feels that his death was in vain. He tells her he didn’t want to hurt her
by running the story, but doesn’t want to lose her. She is leaving the next
day.
Over
the radio there is news that the government has been taken over. There are
troops that stop Guy’s car as he heads to the airport. They are near the
palace, and he acts like he's going there as a journalist, but a guard hits him
in the head. Hortono (Domingo Landicho), the driver, takes him to Billy’s
place. Both of his eyes are bandaged as Hortono leaves to go with his family.
Kumar shows up and says that the PKI failed, and the Muslim generals have taken
over, making Sukarno a “puppet” of the right. This ironic statement reminds one
of how Billy once thought of Sukarno as the “Puppet Master,” balancing the good
and the bad. Kumar’s words show how Billy had misplaced his faith. Kumar says
he himself is a dead man since the military is killing all of the known
communists. Guy offers him a cigarette like a man smoking before the firing
squad starts shooting. As Billy said how in another country Ibu would have
lived well, Kumar asks Guy sine Kumar is not a stupid man, why does he live
like a poor person all of his life when stupid people in Guy’s country live
well? Guy can’t answer the question. Kumar says Billy was right, that
Westerners do not have answers anymore, which is symbolized by Guy laying
there, mute, and blind, useless. Kumar recites a Japanese saying about water
from the moon, which means something you’ll never have. Guy takes the bandage
off of one eye, risking blindness, and tells Kumar to get him to the airport
and then Kumar can drive away to safety.
As
they go through a checkpoint, they see the military lining people up and
shooting them. After Guy shows his journalistic papers, the military luckily
let him drive away, not risking an incident with a foreign correspondent. At
the airport, the security guards confiscate Guy’s tape recorder, and he lets
them have it. Jill is waiting for him in the airplane. He has made the choice
to put the woman he loves ahead of his job, as Billy would have wanted.
Next
time, short comments on four recent films.
No comments:
Post a Comment
Please share your thoughts about the movies discussed here.