meredithconnie Reviews

Black and White (2002)

excellent production values

[9/10 · 16 September 2007]

I came across this one accidentally, and I'm very glad that I did. This is very much an attempt to make an historical document - it is along the same lines as rabbit proof fence, instead focusing on the ridiculously prejudiced and stunted legal system that Australia was so proud of during the 'white Australia' policy years. Every branch of police and court were determined to hide each others mistakes and inequalities because it was simply easier to condemn our own mistakes - if it is believed that all black fellas are inherently flawed, even evil, then it is so much easier to not feel guilty about what we did.

That being said, the production values are so high in this film that one never gets the sense that it is preaching or unnecessarily hammering the audience with the all the guilt of the white man in Australia. The story came through sufficiently, and there were fascinating links to all kinds of branches of Australian life - the turn of public opinion against the death penalty, Rupert Murdoch learning the value of politics over helping out the ordinary man, the idea of 'Englishness' in the colonial nation - and best of all, a wonderful interview with the condemned man himself, still alive despite all the odds.

Highly recommended.

Waitress (2007)

hooked

[10/10 · 4 June 2007]

It took me a little while to warm to the style of the film but the characters were all so affectionately drawn that it didn't take too long. The pacing of the film also seemed to try to catch people out - what they thought was funny may have been serious, and what you thought was serious may have been funny, and by the time the serious stuff really kicks in, you're hooked.

Who makes movies about women trying to make it with miserable lives, miserable relationships, shitty low wage jobs, and only making it through because of the support they can lend each other? Not enough people. Just for that, this would have been something fresh and delightful.

An additional bonus - and this is the kicker - is that Shelley had been in this kind of abusive relationship or knew someone who had. This was real. There was no need for over the top stuff, because the reality is that its just gritting your teeth and getting on with it, all the while losing your ability to hope and to see joy in the world. The redemption for this character was also real - OK, romanticized, but don't we all need a little of that? I loved this film, and I tear up still whenever I think about it, twenty four hours later.

The Tracker (2002)

stunning performance by Gulpilil

[7/10 · 9 May 2007]

I wanted to like this film more than I did - I wanted to be able to rave about it unreservedly, but I couldn't.

First, I loved: David Gulpilil's performance. Such subtle contempt - almost as subtle as the way he actually tracks the landscape. This is an expression that should be seen more often in Australian cinema, just as there should be more opportunities for actors such as Gulpilil to shine. Secondly, I loved the paintings. At moments of transformation or violence (or transformation through violence - three words that sum up the history of the Australian continent) we were shown a still photograph of powerful, colorful paintings that were obviously (I hope! - I couldn't find a credit for them) by Aboriginal artists.

On the down side, the white actors were not allowed a great deal of subtlety, which was a real shame. In particular, Gary Sweet's character was so one dimensional as to be a little annoying, and I am not sure if this was the writing or the performance. Where was the fear behind the arrogance? Where was the hardness rather than blankness? I know that this was an opportunity for the story of The Tracker to shine, but that is no reason to not have well balanced performances (and writing) for the white characters also - or the story begins to lose its power and punch.

So, on balance, the performance of Gulpilil and the power of the story wins out (also probably motivated by the collective guilty conscience of all Australians) over the one dimensional white characters. A great companion piece to 'Rabbit Proof Fence'.

Somersault (2004)

Struggling to find affection in a surprisingly moving and beautiful film.

[10/10 · 10 April 2007]

A beautifully filmed story, the two film comparisons that come to mind are The Virgin Suicides and Morvern Callar. All of these films feature young girls, coping with circumstances that throw them into a spiral - an internal spiral - filmed with grace, attention to detail and a good ear for the soundtrack. There are difficult moments here, where I found myself saying 'Don't do it, don't do it', but she does because inexperience and lack of confidence make for poor choices. As soon as you can place yourself in her shoes, you will find this film moving, and very clearly (and poetically) observed. I recommend this film very highly, both for its clean and original voice - and very Australian voice - and the sympathy we feel for its very real lead characters.