Showing posts with label australia. Show all posts
Showing posts with label australia. Show all posts

Friday, 1 August 2014

FILM REVIEW: AROUND THE BLOCK

Dino (Christina Ricci) in Around the Block.
Ab(out)original plays with the text

By John Esther

After a hiatus, American Dino Chalmers (Christina Ricci) has returned to Australia to be with her fiance, Simon (Daniel Henshall). A bright-eyed idealist, Dino takes a job at Redfern High School. Redfern High School is located in a particularly rough neighborhood in Sydney. 

In the first of the film's numerous too-convenient tropes, Dino notices one of the students, Liam (Hunter Page-Lochard), a teenager who she filmed in the streets the day before. He just happens to be in her class, too. 

Liam has troubles. He lives in a poor, violent neighborhood known as The Block. His Mum (Ursula Yovich) is unemployed; his father, Jack (Matt Nable), is in prison; and his older brother, Steve (Mark Coles Smith), plans to avenge his father's imprisonment and uncle's death. 

As the film points out in the beginning, Liam is headed down a similar path to that of his father and brother. However, Liam has a spark. If he can tap into his creative energies, Liam may just avoid a life of crime and despair (not that creativity does not often come with its own agents of despair).

This is where Dino comes in. She is the new drama teacher at Redfern and she wants the kids to learn and perform Shakespeare's Hamlet. Rather than instruct the old fashioned way of learning the world's most famous play by reciting the lines ad nauseum, Dino gets the kids to understand and appreciate Hamlet via comparing it to the lyrics of Tupac Shakur, examining the subtext, and how and why such an "old" English play could have relevance for the modern day immigrant living in Sydney.  

The existential themes of the play's protagonist strikes a chord in the heart of the Liam. To be or not to be in such a cruel world? Thanks to the former profession of Liam's deceased uncle, Liam was familiar with the words of Hamlet, but now he is beginning to understand something deeper.

Written and directed by Sarah Spillane, Around the Block may have its exasperating flaws, but it cannot be accused of not having its heart in the right place. Here is a film about a teacher who puts her energies into kids who society would soon just forget, even if it means giving up a comfortable bourgeois life with Simon. Meanwhile, the film lends an identity to those living in poverty and the dignity of struggle against it through art. 

Moreover, most of the cast is pretty good, especially Nable's subtle portrayal of a man who sees everything as he knows it disappearing. 

On the other hand, there are a few pretentious scenes involving standing on rooftops and incredulous "race baiting" over a meal at a restaurant. Was Dino just oblivious to the racism of Simon and his friends before she moved in with him?

Then there are the numerous, manipulative and insipid music selections that really grate on one's nerves. I realize the filmmakers are reaching for a younger audience here, but the songs are not only lousy, many of them are obvious attempts to manipulate the feelings and reactions of the audience. And the way Around the Block adapts and actually uses a cover of Mister Mister's "Broken Wings" is as banal and unwelcome as the original 1985 song (and video). 

Having written that, Around the Block is better fare geared for the youth than most movies out currently in theaters. At least Around the Block tries to address themes about adolescence, art and poverty. 



Saturday, 5 January 2013

PSIFF 2013: LORE

Lore (Saskia Rosendahl) in Lore.
(N)eins kinderverhaal

By Miranda Inganni

Set at the end of World War II in Germany, Lore is the story of five siblings who must fend for themselves when their SS officer father (Hans-Jochen Wagner) and Nazi sympathizer mother (Ursina Lardi) are off to prison for war crimes.

The eldest child, 14-year-old Lore (Saskia Rosendahl), must lead younger sister Leisel (Nele Trebs), her twin brothers, Günter (André Frid) and Jürgen (Mika Seidel), along with baby Peter (Nick Leander Holaschke) through the forests and mountains from their home to Hamburg and their awaiting Grandmother (Eva-Maria Hagen). Along the way, they meet Thomas (Kai Malina), a mysterious man with Jewish papers. Lore knows they need Thomas’ help in order to survive, but she struggles with her hatred for the Jews.

While the younger siblings can barely grasp the reality of what has caused them to be in this situation, Lore slowly comprehends her family’s new position and what it means. Once important and admired in Hitler's Germany, they are now the enemy.

All the children suffer, but it seems that only Lore is allowed to express it. While her character initially is unsympathetic, through her journey to save herself and her siblings, Lore's quest for survival brings out a sensitivity that can only be brought on through experiencing deep pain.

Lore looks at the toll of war from a perspective most audiences have not seen. Additionally, the cast does a remarkable job, especially considering their youth. Rosendahl is expertly cast as Lore and she strikingly captures her character’s physical and emotional journey. Kudos also goes Adam Arkapaw's lush, beautiful cinematography.

Based on “The Dark Room” by Rachel Seiffert, director and co-writer Cate Shortland’s Lore is Australia’s Official Selection for the 85th Academy Awards for Best Foreign Language Film. (It did not make the short list.) The film is a co-production between Australia and Germany and the dialog is almost entirely in German.
 
Lore screens at the Palm Springs International Film Festival: Jan. 7, 7:30 p.m., Camelot Theatres; Jan. 9, 10:30 a.m., Camelot Theatres. For more information: PSIFF 2013.
 

Monday, 24 September 2012

FANTASTIC FEST 2012: HAIL

A scene from Hail.
Invisible cage

By Don Simpson

What is it with Australians and gritty neo-realist working class dramas? The world of Hail is pure hell (or, with certain accents, "hail") on earth. It is clearly Danny's (Daniel P. Jones) past that puts him in this "his" place. Released from prison at the beginning of the film, Danny returns home to his girlfriend Leanne (Leanne Campbell). With no legitimate career to call his own, or even a resume, Danny takes a job as a lackey at a garage. Unfortunately, fate (or society) deems that Danny cannot live the straight and narrow for very long; he is a naturally angry and violent man whose only solace in life is Leanne. That leads us to wonder: what would happen if he loses Leanne? We can only assume that all hell will break loose.

Hail is a brilliant meditation on Danny's inability to break free from his economic class due to societal restraints. As an uneducated ex-con, Danny is destined to live a hellish existence. Life will never be easy for him. Daniel P. Jones' performance as Danny is astounding. This is a semi-autobiographical tale of Jones' life, so we can only assume that there is a very fine line between Danny the character and Jones the actor, making this one of the most chillingly authentic performances I have ever seen. The brutal realism is accented magnificently by experimental visual flourishes courtesy of cinematographer Germain McMicking. Hail is certainly not an enjoyable experience, but it is a transfixing experience nonetheless.

Monday, 7 November 2011

AFI 2011: SNOWTOWN

Jamie (Lucas Pittaway) in Snowtown.
Brain freeze

By Don Simpson

Sixteen-year-old Jamie (Lucas Pittaway) lives with his single mother, Elizabeth (Louise Harris), and two younger brothers in Adelaide’s severely disenfranchised northern suburbs. On one fateful day, Elizabeth brings home a new boyfriend, John (Daniel Henshall). Jamie instantly connects with John, discovering the father-figure he has always desired. John seems like a nice enough guy and he provides Jamie’s entire family with a stability and sense of family that they have never known.

Eventually, though, John chooses to indoctrinate Jamie into his self-righteous world of bigotry and malice. An ultra-conservative redneck vigilante, John has made it his life’s mission to rid the world of unacceptable behavior. John assembles a consortium of like-minded townspeople to assist him with compiling a target list of anyone who is rumored to be a child molester, drug addict, gay, obese, or otherwise deemed abnormal.

Jamie begins to tag along with John’s gang of simpletons as they capture, torture and murder their prey. Seemingly by osmosis, Jamie begins to take on some of John’s personality and philosophy. All the while, Jamie retains enough reason to be uncomfortable with the killings and some of John’s motivations, but loyalty and fear cause him to continue down the downward spiral of senseless bloody mayhem.

A biopic about Australia’s most notorious serial killer — John Bunting — Snowtown is a surprisingly restrained and contemplative film. True, it does delve quite graphically into the very darkest recesses of brutality; but rather than showcasing (glorifying) violence in order to merely shock and awe the audience, writer-director Justin Kurzel is much more interested in coercing the audience to relate to Jamie and therefore sympathize with him. We are wooed by John just as Jamie is. It is difficult not to believe, at least at first, that John means well -- that he is merely trying to protect Jamie’s family.

Snowtown relies heavily upon the audience’s belief in Jamie’s story. Kurzel certainly reveals no doubts in Jamie’s version of the events, but that does not mean it is historically accurate. Remember, this is a very specific perspective of John Bunting’s story — whether or not you believe it is totally up to you.