Some Mother's Son YIFY Free
This was kind of a drill for "Die Brücke", the masterpiece coming some 4 years later. Several young boys have volunteered to fight with the remains of the German Army on the Eastern Front and their mothers take on a desperate journey to get them back home. This is told in black and white, with only small doses of softening and taking stand for the German cause, basically a human drama of motherly uncompromising love, officers and generals torn between duty and human common sense and boys, who feel like deserters, if they would be forced to be boys again. And also a little love story between of the widowed mothers and an Officer. Everything is there, dominating performances by Therese Giehse and Bernhard Wicki, but just a warm-up for the much more focused and uncompromising Masterpiece to follow.
Some Mother's Son YIFY
This engaging movie is a mixed bag. There is the seed of a great movie to be made in this patchy one. The intriguing story of six women heading to the Russian front to rescue their teenage sons, who've run away from school to enlist for the Fatherland, deserves better telling. Some fine performances are mixed with some pretty dreadful ones. Some great lines are mixed with some dreadful clichés. The cinematography was superb throughout. The star performance is that of Therese Giehse. How did she not have a wider fame outside of Germany? Bernhard Wicki, who does pretty well, appears interestingly in the later movie, "Paris, Texas."
I saw this film when it first came out but after reading two rather diverse but equally recommended books on the subject ("Ten men dead" by David Beresford and "Nor Meekly serve my time" Edited by Brian Campbell, Laurence McKeown and Felim O'Hagen) , I figured I'd like to see it again.The story portrayed in the film echoes the 2nd book in particular so closely at times that I expected to see the three men credited (They were actually H Block prisoners who took part in the protest and hunger strikes themselves). Of course from that perspective it is understandable that some would claim that it tends towards bias or discriminates towards a one sided view on a very complex issue.The reality of the film is that whilst the majority of the characters save Bobby Sands are fictional, many of them, with just a little background reading are recognisable as real life people such as Fr Denis Faul, Bik McFarlane, "The Mounain Climber" and a composite of Gerry Adams/Danny Morrison.It is a charge fairly frequently levelled at Jim Sheridan that he embellishes or takes liberty with factual real events such as in Michael Collins or In America - However, that is usually levelled by someone with an obvious axe to grind or viewing from an opposite perspective. So whilst it is desirable for a good film to document even real facts in an understandable way in less than two hours it is also nice to be entertained and have your curiosity aroused so that you can read further on the subject if you so desire. Some Mothers Son is probably one of these types of movies where the viewer's experience and insight is best enhanced by prior knowledge or at least some background of the events which out of necessity the film is compelled to synopsise and simplify some times.The facts surrounding this turbulent period in Northern Irish history is that after a prolonged "dirty protest" to be recognised as prisoners of war instead of criminals or terrorists, in 1981 the republican H-Block prison inmates embarked on a hunger strike which by the time it had ended some 6 months later had seen ten of them die but more significantly for the republican movement in NI had seen a wider world focus on them and also had seen a new dawn towards the use of the ballot box instead of the Armalite assault rifle as a means to an end by Sin Fein/IRA which 25 years later is culminating in an electorally strong Sinn Fein and a decommissioned largely stood down IRA.All in all therefore, as a pen picture which goes some way towards giving one a basic insight into the Northern Ireland Hunger strike of 1981 it does a good job which is greatly helped by very good performances by Helen Mirren, Fionnula O Flanigan Gerald McSorley and John Lynch in particular. Oh and if the soundtrack sounds vaguely familiar it may be because it is by Bill Whelan of Riverdance fame.
Hansard informs me that, at 3:40pm on 8 June 1940, after William Edward Woolley, esquire, for the County of York (West Riding) had been sworn in, and after the Monmouthshire and South Wales Employers' Mutual Indemnity Society Limited bill had had its first reading, Winston Churchill rose in Parliament to speak under the jurisprudence of 'War Situation'. His statement, lasting 34 minutes, concludes with the famous quotation that... 'We shall fight on the beaches...on the landing grounds...in the fields and in the streets...in the hills. We shall never surrender.' They were stirring, if not chilling, words for the fact they dared to address what might, or ought, happen in the occasion that there should actually be some form of German military presence in the country. The advice was clear: keep fighting; fight in streets, fields and wherever you find them - keep fighting. Drag it out to its last breath.In the event, mainland Britain was never actually invaded by the Nazi war machine. A small part of it, however, in the form of the Channel Islands, was. But what happened? Not very much in the form of resistance, in actual fact. Begrudging acceptance, you might say, is as bad as it gets in "Another Mother's Son" - the sabotaging of treacherous communique in a local post office about as guerrilla as it comes.Admittedly, and perhaps to my shame, I couldn't tell you very much about this particular chapter in the United Kingdom's history: the arrival of the Nazis, via France, on the various islands which make up the Channel Islands in 1940 and their consequent occupation. Having seen the film, I am none-especially wiser as to the raw essence of the history behind such an occupation, but the film does well to steer you towards understanding what life MAY have been like. The project, based on a true story, is in essence competently made. It did not bring me to tears in the way it thought it was going to, but I am happy that I found it and learnt about the people and deeds therein. The nicest I can be is that "Another Mother's Son" is functional if not televisual, but that it pales in comparison to many others of its stock such as "Soldier of Orange" or "The Pianist". It also stars Ronan Keating, who not only gets to act but seems to have written especially for him a sequence whereby he is afforded the opportunity to sing.It is the spring of 1942 and, with the War broadly speaking still confined to Europe and Africa, and, I don't suppose, going especially well for Britain, we are on Jersey, which the Germans occupy. Their arrival has seen them cull the population of Englishmen - not through any especially nasty means, but through deportation: the strict observance of the rule that anybody not born on the island is sent to Germany as a prisoner of war. There are, however, a few curious exemptions: anybody in a management position, for example, is spared the fate. Two sisters in their fifties by the names of Louisa (Jenny Seagrove) and Ivy (Amanda Abbington) run a small convenience store, selling mostly food. Harry (Keating), is their brother. Louisa, the eldest, has already lost her son to the conflict; life under rationing is tough.The Germans seem to reserve their real hatred for the Russians, with whom they have only just gone to war, scorching in the process their 1939 non-aggression pact. As one set of prisoners of war go out, another lot come in: Soviets captured on the Eastern front are shipped in to work, essentially as slaves, in a local quarry. The plot thickens when one of them, Bulgarian actor Julian Kostov's young Red Army pilot Fyodor, escapes and eventually ambles into Louisa's somewhat diametrically opposed universe - refusing to turn him in, of course, she decides to house him and hide him in spite of the danger, in the process essentially allowing him to become the eponymous son wherein, since she had no control over her blood relation's death in the conflict, might be able to save the life of another young man here.Appreciating the film comes a lot easier than loving it; it has, to its credit, a certain vibe about it which calls to mind one of the better wartime stories of opposites stuck in the confines of a remote cottage, in "Goodnight, Mr. Tom": a made for television piece which worked more consistently within those parameters. Jersey, having seemingly escaped the might of the German war machine in ways France; Poland and the Netherlands did not, is a curious setting for what is in essence a resistance thriller, as well as a war film, and yet at once plays out as neither of these things. Fyodor is stuck inside, hiding. If he is found, he is likely shot, as too will be Louisa. It is a simple enough premise, but it remains curiously grounded throughout its runtime as characters go through the motions around it. The Germans, seemingly ignorant that one of their prisoners has even escaped, refrain from launching an all-out manhunt on the tiny Bailiwick and are never suspicious that one of the hate-filled natives of the island might pluck up the courage to conspire against them.I read after the film that the director, a certain Christopher Menaul, is indeed more synonymous with directing material for television broadcast, and it shows here; the aesthetic is very much one of point-and-shoot and the film lacks a cinematic quality, with too many edits for what is ultimately an extraordinarily pared down story about people stuck in houses or shops or post-offices looking exasperated under exasperated circumstances. He brings to life a tale of courage, or perhaps two tales of courage, admirably but it's played very safe and there is ultimately too much bite lacking for it to be brilliant. 041b061a72