movie

Film Review: PERFUME WAR (Canada 2017) ***1/2

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Deadlines to Submit your Screenplay, Novel, Story, or Poem to the festival: http://www.wildsound.ca

perfume_warDirector: Michael Melski
Writers: Michael Melski, Barb Stegemann
Star: Pasha Ebrahimi

Review by Gilbert Seah

If there is ever an inspirational film that will move audiences to return their faith in the human race, PERFUME WAR is it.

Michael Melski’s fascinating documentary explores the extraordinary friendship between two best friends, Trevor and Barb whose shared mission of peace has made an enormous impact on countless lives.

The film begins with equal time devoted to each before concentrating on Barb. Captain Trevor Greene joins the military to fight the oppression of women in Afghanistan. Barb Stegemann is a single mom who is moved to take on her best friend’s mission after he is brutally axed in the head by the Taliban. Stegemann works with Afghan farmers to grow legal orange flower crops instead of the illegal heroin poppy–the Taliban’s chief income source–and creates an unlikely weapon in the fight for world peace – perfume. The topic is an interesting as it is strange. But director Melski inserts the inspirational factor into his film.

This he does firstly by dotting quotations by the Roman Emperor Marcus Aurelius throughout his film. Example: “Change is nature’s delight.” Next Melski inspires through the lives of both Barb and Trevor. Trevor and Barb are visionaries.

Trevor describes himself as the most driven person he knows – and one that is driven on principles, not by money. Trevor is described by Barb as the most inspirational person who changed her life completely. She is also described by her University professor as an engineer of civilization, who in his 34 years of teaching has only encountered a handful. Barb and Trevor are best friends (no sex). When Trevor met Debbie, Barb knew Debbie was the perfect one for Trevor and the three became good friends. Barb and Trevor each pushes the other towards the limit.

When the Taliban takes an axe to Trevor’s head, Trevor survives. A miracle! More inspiration! Barb decides to give her life to continue Trevor’s mission. She embarks on the business venture (even securing funds from DRAGON’S DEN) so that the business can continue and the Afghanistan farmers can continue to work.

Melski’s film is total convincing as he includes clips of the farming in Afghanistan The enactment of the meeting that resulted in the axe to Trevor’s skull is also re-enacted to full disturbing effect. Melski also debates the topic of social good vs. monetary gain. Barb had to get capital from TV’s DRAGON’s DEN.

Those who have watched DRAGON’s DEN will be pleased to see the film’s heroine pitting her wits with her social venture to the dragons who only look at the money prospects of a business venture. Dragon Kevin O’Leary obviously gives a no. But Melski shows that even dragon have consciences and a human desire to do good. Another fascinating segment of the film is devoted to how Barb beats the big companies in the perfume business.

The film is about challenge. The film is about doing what’s right and to make a difference to change the world – to make it a better one. PERFUME WARS inspires!

Trailer: https://www.youtube.com/watch?v=GS7KteaH55U

 

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HOT DOCS 2017 Reviews: LET THERE BE LIGHT (Canada/France/Italy/Switzerland/USA 2017) ***

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let_there_be_light.jpgLet There Be Light follows the story of dedicated scientists working to build a small sun on Earth, which would unleash perpetual, cheap, clean energy for mankind. After decades of failed attempts, a massive push is now underway to crack the holy grail of energy.

Directors: Mila Aung-Thwin, Van Royko
Writer: Mila Aung-Thwin

Review by Gilbert Seah

This documentary attempts to answer the question: Can mankind create a small sun on Earth? The purpose, to develop a clean, safe and unlimited power, has been an obsession for scientists and inventors for centuries, and an underlying preoccupation for society as a whole.

For decades, fusion has been delayed and thwarted by failure, miscalculation, fraud and politics. But today, fusion is being pursued with a renewed zeal.

The film explains the process of fusion, as simply as possible to the audience, assumed to know nothing about Physics. But as the film progresses, the doc gets bogged with the details of scientists explaining all the different processes involved in the collaboration, that according to the directors is taking place among 37 countries.

At times, the film plays like an educational piece slotted for schools. Still, the doc is educational, even if not always entertaining. The funniest segment involves a 40-year old native of Bowen island (Canada) working alone on his fusion reactor in his garage. Director Aung-Thwin and Royko do their best to get her audience to identity with the subject.

Attending Hot Docs will be director Mila Aung-Thwin and Physicist Michel Laberge.

Trailer: https://vimeo.com/205254516
 

 

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HOT DOCS 2017 Reviews: 78/52 (USA 2017) ***1/2

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7852An unprecedented look at the iconic shower scene in Alfred Hitchcock’s Psycho, the “man behind the curtain”, and the screen murder that profoundly changed the course of world cinema.

Director: Alexandre O. Philippe
Stars: Alan Barnette, Justin Benson, Peter Bogdanovich

Review by Gilbert Seah
 
78/52 offers an unprecedented look at the iconic shower scene in Alfred Hitchcock’s PSYCHO – the “man behind the curtain” and the screen murder that profoundly changed the course of world cinema. The famous shower scene – the opening and closing of the bathroom door; the water streaming from the shower; the curtain slowly pulling apart; the repeated stabbing; the blood flowing down the bath; the door bathroom door slamming shut.

The entire scene’s storyboard with the script is read aloud (and also the pages of the novel of the same name by Robert Block, illustrating the differences) to the audience as the scene, unfolds one step at a time, offering a fresh insight.

The contribution of both Edward Hermann to the music and George Tomasini to the sound effects are detailed in the film, providing more insight and pleasure to the cineaste.

The film includes clips of films that have been influenced by Hitchcock. Director Philippe (DOC OF THE DEAD) has done thorough and detailed research on Hitchcock and the shower scene and it shows.

The result is one of the best and most insightful documentaries on the techniques of the Master of Suspense.

Clip: http://www.dreadcentral.com/news/208152/sundance-2017-new-7852-clip-goes-psycho-shower-scene/
 

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Film Review: FRANTZ (France/Germany 2016) ****

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frantz_posterDirector: François Ozon
Writers: François Ozon (scenario), Philippe Piazzo (in collaboration with)
Stars: Pierre Niney, Paula Beer, Ernst Stötzner |

Review by Gilbert Seah

What would be another year without another film from French director Francois Ozon? Ozon’s last two films were JEUNE & JOLIE and LA NOUVELLE AMIE and my favourites are SITCOM and LES AMANTS CRIMINELS. Ozon’s films have often been about twisted love. FRANTZ is no different.

At one point in the film, the protagonist is given the message to live and love life. The advice is more easily said than done. Ozon’s entire film is devoted to prove the fact.

FRANTZ is Ozon’s (which he co-write with Phillippe Piazzo) elegant tale of love and remembrance set in a small German town in the aftermath of World War I (1914-1918). A young woman, Anna (Paula Beer) mourning the death of her fiancé, Frantz forms a bond with a mysterious Frenchman who has arrived to lay flowers on her beloved’s grave. The mourning is representative of a larger national mourning where many Germans (and French) soldiers lost their lives. The question immediate to ones mind is who the Frenchman is and why he is laying the flowers. With Ozon, an open gay director, the best guess (and mine too) is that the Frenchman is Frantz’s gay lover and that the gay relationship was kept from the family. That would have been too obvious. This is not the case. The secret is revealed and only revealed about the half way mark of the film.

Anna’s German home town are just beginning to emerge from the shadow of horrendous war. Frantz’s parents are shattered over their son’s death. The stranger reveals himself to be Adrien (Pierre Niney) who knew Frantz in the pre-war period, when the two of them became fast friends over their shared love of art and, in particular, music. But there is much more to the story, which is revealed a bit at a time in Ozon’s carefully calculated though slow moving tale of redemption.

Anna is convincingly portrayed by 21-year old Paula Beer. Pierre Niney, famous for his lead role in YVES SAINT LAURENT shows off his magnificent (despite the artificially inserted made up war wounds) male body, basking in the son, reminding the audience that this is a film by Ozon. Ernst Stötzner and Marie Gruber are also excellent playing Frantz’s parents Doktor Hans Hoffmister and Magda Hoffmeister.

A bit of needed tension is provided by the village’s hatred for the French. Whenever Adrien walks about alone or at night, there is fear that he might be killed or badly beaten.

There are many issues on display in this post World War 1 drama. The most important is the individual’s search for happiness. This is seen not only from Anna’s point of view but also from her suitor, Frantz’s parents and also from the much oder Mr. Kreutz (Johann von Bülow) who wishes Anna’s hand in marriage after hearing of Frantz’s death.

This is Ozon’s most emotional and sombre film, again meticulously crafted and though might be tedious to some, succeeds in the very end. The film is shot in both German and French, black and white and in colour. Ozon reportedly drew his inspiration from the Ernst Lubitsch’s 1932 drama BROKEN LULLABY, with stunning visual references to painter Caspar David Friedrich.

His next film L’AMAMT DOUBLE with his regular Jeremie Renier and Jacqueline Bisset should be something to look forward to.

Trailer: https://www.youtube.com/watch?v=XO_z5BRsFnM

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Film Review: GOING IN STYLE (USA 2017)

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going_in_style.jpgDirector: Zach Braff
Writers: Theodore Melfi (screenplay), Edward Cannon (based on the 1979 story by)
Stars: Joey King, Morgan Freeman, Ann-Margret

Review by Gilbert Seah

GOING IN STYLE is an updated remake of the 1979 caper movie of the same name that starred Oscar winners George Burns, Art Carney and Acting Coach Lee Strasberg . The main difference is that in the 1979 original, two of the three old cronies actually die in the film, making the title more appropriate. No one dies in the remake.

The three seniors in director Zach Braff’s 2017 version, are Joe (Michael Caine), Albert (Alan Arkin) and Willie (Morgan Freeman). The story is told primarily from Joe’s point of view. When the company they had worked for is bought out, their pensions become a casualty of the restructuring. When Joe meets up with the bank manager regarding the foreclosure on his house, he is inspired by a bank robbery that takes place during his visit. The three seniors decide to take back what is rightfully owed to them by the bank holding the company’s pension funds.

The script by Theodore Melfi gives each character their place in the story, Willie needs the money to visit his family more than once a year. Albert develops a love interest with Annie (Ann-Margaret). Joe has his separated daughter and granddaughter , Brooklyn (Joey King) live with him, so he cannot lose his house to the bank. FBI agent Hamer (Matt Dillon) pursues the trio with the clues he gets from the CCT. The three get caught in the original GOING IN STYLE, but the three here might just get away (no spoiler in this review.) They wear Frank Sinatra, Dean Martin and Sammy Davies J. (sorry, Peter Lawford) masks as compared to the Groucho Brother masks in the original during the heist.

The film works better in the first third with a looser plot. Director Braff, who has more acting than directing in his resume (he was the main actor in GARDEN STATE; GOING IN STYLE is his directorial debut) proves himself more apt at comedy and getting the most out of his cast. The robbery scene is done more for comedy that suspense, which is clearly lacking during a typical robbery scene. Good thing too, is that sentimentality is kept to a minimum.

GOING IN STYLE is the typical inoffensive comedy (except for a bit of swearing thrown in clearly for good measure) with old people for old people. It is also good to watch these 3 Oscar Winners (Freeman, Caine and Arkin) together for the first time. Ann-Margaret still looks as stunning as ever and BACK TO THE FUTURE’s Christopher Lloyd is sufficiently funny as a forgetful senior. John Ortiz deserves mention as the dodgy character who helps the trio plan the robbery.

Though Michael Caine almost succeeds in pulling the film off, the film suffers from a weak narrative with the story going into three directions resulting in too many distractions. The film succeeds in delivering a few laughs. Another good thing is that no one can remember the original which was only a mediocre movie, so the 2017 movie should not disappoint many, especially when the target audience are seniors. (If the last statement is offensive to any senior, it should be noted that this film reviewer will be a senior pretty soon. Maybe I should start planning my own bank robbery.)

Trailer: https://www.youtube.com/watch?v=hcdTN5soeQw

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Film Review: SONG TO SONG (USA 2017)

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Deadlines to Submit your Screenplay, Novel, Story, or Poem to the festival: http://www.wildsound.ca

song_to_songDirector: Terrence Malick
Writer: Terrence Malick
Stars: Ryan Gosling, Rooney Mara, Michael Fassbender, Natalie Portman

Review by Gilbert Seah

 Terrence Malick’s films have been accessible to some and highly inaccessible to others. The best example is Malick’s TREE OF LIFE that the Toronto Film Critics association awarded Best Film of the year that most of the public hated. Malick’s last film was his indulgent ode to the Universe which he made though the man is neither a scientist of physicist. That was a complete mess.

His latest indulgent film SONG TO SONG begins at a concert of some sort where the crowd is wild and violent. It is an energetic scene that provides some promise of an exciting film that never comes to fruition. As the film unfolds, it is revealed that SONG TO SONG is supposedly a film about life that is led from song to song or from kiss to kiss.

SONG TO SONG is a love story set against the Austin, Texas music scene, with two entangled couples — struggling songwriters Faye (Rooney Mara) and BV (Ryan Gosling), and music mogul Cook (Michael Fassbender) and the waitress whom he ensnares, Rhonda (Natalie Portman) — chase success through a rock ‘n’ roll landscape of seduction and betrayal. The betrayal involves Faye who hides her affair with Cook from BV. BV has a fling with Amanda (Cate Blanchett) while Faye also experiments with same sex with Rhonda. The film intercuts frequently among the couples, without any meaning or direction.
The film contains a lot of voiceover, particularly from Rooney Mara at the beginning of the film.

SONG TO SONG is stunningly shot by cinematographer Emmanuel Lubezki with credit also going to Malick. The best spectacular scenes are the ones with the rooftops, the crystal clear waters, the beaches including interior scenes like the gorgeous decorated and furnished apartments.

It is difficult to judge performances when a film has no narrative or direction. But Malick, has assembled, besides the main stars mentioned above, other famous names in his cast like Val Kilmer, Iggy Pop, Tom Sturridge, Holly Hunter and Lykke Li.

The film’s first cut was 8 hours and shortened to two hours with huge snips that included singer Patti Smith totally removed from the film. Even Fassbender thought he would have been totally cut out of the film leaving only his voiceover.

In SONG TO SONG, Malick delves into romantic relationships in an experimental type film where narrative is thrown into the wind. The film is often all over the place. incoherent and senseless.

The critical response to the film has been pretty bad so far with only a few praises. It currently stands, at the point of writing, at just the 50% mark on meteoritic and rotten tomatoes. SONG TO SONG is also one of the lowest rated Malick films.

As in almost every Terrence Malick film, SONG TO SONG is undeniably, a visual treat. But that is all that can be said about the film. It also runs too long at 129 minutes.

Trailer: https://www.youtube.com/watch?v=v8Yo2e8AzgA
 

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CLOUDBOY (Belgium/Sweden/Netherlands 2016)

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cloudboyCLOUDBOY (Belgium/Sweden/Netherlands 2016) **
Directed by Meikeminne Clinckspoor

Starring: Geert Van Rampelberg, Sara Sommerfeld, Mikkel Gaup

Review by Gilbert Seah

CLOUDBOY is a coming-of-age story of a 12-year old boy who learns to appreciate the love of his separated mother and his other siblings.
Though CLOUDBOY tells the story of 12-year old Niilas, it is not told from his point of view but from the outside, letting the audience form their own opinion on the boy and on the incidents that occur. When the film opens, the audience sees the relationship between Niilas and his father. His father is playful yet stern when Niilas gets out of hand. They have spent all the years together in Sweden and it is now time for the boy to visit the mother who live up north in Swedish Lapland (hence the title CLOUDBOY).

The film being shot in Sweden and Belgium offers the younger audience a good education of what it is like to live in different countries.

So, against his will, Niilas spends his summer vacation with his mother and her new family (two siblings) in rural northern Sweden, where they live among the indigenous Sami people as reindeer herders. Having spent most of his 12 years with his father in Belgium, Niilas barely knows his mother and has yet to meet his stepfather and new siblings. Uncomfortable around the reindeer and his family, Niilas retreats inwards. His negligence following an argument with his half-brother causes a reindeer to go missing. Feeling responsible for the animal’s safety — and for causing his family distress — he takes on the search.

Niilas is portrayed as a spoilt kid who can do damage when he does not get what he wants. His mother, stepfather and two step siblings are just too nice to him to be believable. Niilas let loose all the reindeer that the family have taken 5 weeks to round up. He mistreats his siblings. H spurns the love of the mother and stepfather. Niilas basically does what he wants. Yet everything turns out right and everyone still cares for him. Chuck the spoilt kid into the river, is what I would say.

The film is predictable to the very end.

Despite the director’s good intentions, the film feels flat. But younger audiences might be able to appreciate the film a bit better.

The film is shot in many languages – Swedish. Sami and Flemish.

The film is suitable for family though there is one instance of slapping and shoving.

CLOUDBOY will be screened at the TIFF Kids International Film Festival with a total of 5 separate screenings. In addition there will be an introduction and Q&A with director, Meikeminne Clinckspoor on April 18, April 20 and April 22.

Trailer: https://uk.video.search.yahoo.com/search/video?fr=yfp-t-903&p=trailer+cloudboy#id=1&vid=42b782605e0dfd69251b3603fe5ec608&action=click

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Movie Review: PERSONAL SHOPPER (France 2016) ***

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personal_shopper.jpgDirector: Olivier Assayas
Writers: Olivier Assayas (dialogue), Olivier Assayas (screenplay)
Stars: Kristen Stewart, Lars Eidinger, Sigrid Bouaz

Review by Gilbert Seah

 After the modest box-office success of CLOUDS OF SILS MARIA, director Oliver Assayas (IRMA VEP, CLEAN) and actress Kristen Stewart reunite with a moody ghost story called PERSONAL SHOPPER. The title character, Maureen is as the title implies, a personal shopper for a wealthy German model and designer, Kyra (Nora Von Waltstätten). Maureen also has a ghostly encounter from her recently dead brother who she was quite close with.
The closeness is explained in two reasons – necessary to convince the audience why she is so determined to have a spiritual encounter with him. One is that he is her twin. Second is that the both suffer from the same health issue, though someone could live till a hundred with it. What happened to the brother is explained by the doctor as a rarity. But Maureen cannot indulge in any excessive physical activity.

Within the first 15 minutes of the film’s running time, the only thing established is that Stewart plays a personal shopper and that she has had one ghost encounter. The audience is obvious primed for a slow haul of a movie. Not much has happened except that Stewart has been walking around, mucking around and just looking at dresses for Kyra. The dresses are very glamorous, for those who like to look at dresses. Maureen is forbidden to wear the dresses. But she does, even masturbating in one of the sexier ones.

PERSONAL SHOPPER works off Maureen’s character with a few side incidents. Maureen rides along on a scooter, has a few ghostly encounters (though not fully explained who the apparitions are), runs errands and has an uncomfortable encounter with a stalker on her mobile phone. The film contains a loose narrative but a strong presence in Kristen Stewart’s character. Assayas is in playful mood here milking the most out of his actress.

One side incident involving a murder is done Hitchcock style. Maureen discovers a brutal murder just as in the scene in Hitchcock’s THE BIRDS when the first attack of the birds was discovered.

As a ghost story, the ghost appears as an apparition similar to old ghost films with dust stirred up with blurred figures. The seance scene also looks typical of those in early ghost stories.

In the end, one eventually asks whether this light hearted ghost story is any fun. Well it might be for director Assayas and his star, but it might be too much of a slow and long haul for others. Assayas leaves his film with an open ending that might have some audiences dissatisfied. But on the same hand, PERSONAL SHOPPER is not a film that lends to a Hollywood ending. Having one would have destroyed the entire atmosphere of the film Assayas had so carefully created.

The film is shot in English, with some French and German spoken (and an elaborate German song) with a moody setting in both Paris and London. Interesting but not great!

Trailer: https://www.youtube.com/watch?v=7hghXP4F3Qs

 

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Film Review: DONALD CRIED (USA 2015) ***

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Deadlines to Submit your Screenplay, Novel, Story, or Poem to the festival: http://www.wildsound.ca

donald_cried.jpgDirector: Kris Avedisian (as Kristopher Avedisian)
Writers: Kris Avedisian (as Kristopher Avedisian), Kris Avedisian (screenplay)
Stars: Jesse Wakeman, Kris Avedisian, Louisa Krause

Review by Gilbert Seah

 DONALD CRIED is a weird title for a movie. The reason it is called that comes clear after half the movie has passed – and it is as weird a movie as its title. But not a bad one. DONALD CRIED is a two handler comedy about two losers. But don’t let what has been said turn you off this movie. Kris Avedisian who wrote and directed the film also stars as Donald and in DONALD CRIED has helmed a very original comedy piece that despite its simple setting, is an absorbing watch from start to end.

The first loser is Peter Latang (Jesse Wakeman). Peter had left his childhood home of Warwick, Rhode Island to reinvent himself as a slick, Wall Street mover and shaker. He is suddenly forced to return home to bury his grandmother. He hates Warwick. When the film opens, Peter arrives at the house and finds that he has lost his wallet on the train and unable to pay the cab driver. Peter is so annoying that the cab driver lets him off with the $15 fare instead of taking him to the train station to try to recover the wallet. Stranded and broke, Peter looks to the only person he can think of to help him out – his next door neighbour and former childhood friend Donald (played by Avedisian).

Then, the audience is introduced to an even greater loser – Donald.
Donald is a man-child who is more annoying than Peter. He speaks too close to ones face, is too much of a hugger and wears really bad clothes. Besides going on and on about things no one wants to hear about, Donald also unknowingly insults the one his is talking too. Imagine the question he asks Peter: “Do you masturbate still?” One scene has Donald at his place, almost naked reminiscing to Peter about old times. But the clincher scene has Peter waiting for Donald to finish playing his video game.

The rest of the film just follows the two ‘friends’ as they try to wrangle some cash that Peter desperately needs. They meet old acquaintances and do odd things like play football in the snow.

There are two segments that show the audience how f***ed-up Donald is. It is discovered that Donald had been impersonating Peter while is grandmother was sill alive. Donald pretended to be Peter so that the late grandmother would think her grandson had not left town. Another has Donald busting into the sex-making of Peter and his crush. These set-ups work well to test the relationship of the two buddies.

DONALD CRIED has begun its Toronto run at the Carlton Cinema from March 17th. The film won the American Independents Audience Award at AFI Fest and was an official selection at the 2016 SXSW Film Festival.

Trailer: https://www.youtube.com/watch?v=qc6lSzU5loo

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Film Review: THE SECOND TIME AROUND (Canada)

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Deadlines to Submit your Screenplay, Novel, Story, or Poem to the festival: http://www.wildsound.ca

the_second_time_around.jpgDirector: Leon Marr
Writers: Leon Marr, Sherry Soules
Stars: Linda Thorson, Stuart Margolin, Laura de Carteret

Review by Gilbert Seah

 
Winner of the Audience Award for Best Feature Film at the Palm Beach Jewish Film Festival, and an audience favourite at numerous festivals such as Whistler Film Festival, U.K. International Jewish Film Festival, and Atlanta JFF, among others, THE SECOND TIME AROUND, the title tells it all, is about a second chance – a second chance at love. This is the kind of film that appears every 4 months or so, catering for the seniors, much like hits like COCOON.

Katherine Mitchell (Linda Thorson), a widowed yet vibrant senior, is not looking for love a second time – not at her age, and certainly not with grumpy Isaac Shapiro (Stuart Margolin). Her first line of dialogue in the film: “I prefer cut flowers to plants. When they die, you just throw them away.” She is entered into a convalescent home by her daughter, Helen (Laura de Carteret) after a hip injury. She is in a wheelchair. Convenient as made so by the script by Marr and Sherry Soules, both are widowed. Isaac and Katherine slowly fall in love, kissing and eventually taking their clothes off to sleep together (Don’t worry, the scene is done in good taste.)
The film moves at a slow pace suitable for the elderly that might be too slow for the video game audience. Director Marr (DANCING IN THE DARK) knows how to work his target audience. He has Mr. Shapiro sing to Katherine while dancing the song “The Second Time Around”. One cannot wish for a more romantic set-up. A few tears are also shed in the scene when the character Ben dies.

An artistically impressive seven is the one doe with shadows on he ceiling. Isaac drink and grumbles while Katherine leaves the room, shown as a shadow on the ceiling diminishing in size.

But as that title implies, the film is about a second chance in other areas as well. Katherine gets to Iive her dream of visiting the Opera House in Milan, Italy. But the film does not shy away from the realities of old age as well. As is the immobility, the intolerance of family members go caring for the elders, sickness an pain like athritis and migraines.

BAFTA Award Winner Linda Thorson (she was the first replacement of Diana Rigg’s Emma Peel in the popular TV series THE AVENGERS) delivers a sympathetic performance showing how dignified an prey her aged character can be. Stuart Margoloin (most famous for TV’s ROCKFORD FILES) also turns on his charm as her love interest. The two leads have good chemistry making the romance believable and charming. The late Don Francks (numerous TV series and the film FINIAN”S RAINBOW) who died last year has a small role as Murray.
The film has a good sweet ending with opera – Katherine’s first love. The soundtrack is full of beautiful music from famous opera pieces like Carmen and La Traviatta.

Trailer: https://www.youtube.com/watch?v=ptLJTYw4WEI

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