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While
it's certainly not a blockbuster by any stretch of the imagination (and
that is something Aussie films really need to start throwing some cash
at - because we can't continue to survive on Indie-Art), there's
something inexplicably intoxicating about Ray Lawrence's follow up to
the break-thorough hit Lantana.
Based on Raymond Carver's "So Much Water So Close to
Home" (and music fans might recognise the tale from the Paul Kelly song Everything's Turning To White), Jindabyne follows four small town friends who, on
an annual fishing trip in the isolated high country, find the dead body of an aboriginal girl in the river.
With
it too late in
the day to hike back, the group decide to spend the rest of the day
fishing - opting to keep the body cool in the river over the weekend as
opposed to letting it rot in the harsh Aussie sun. However, when the
men finally do return home to Jindabyne, and
report finding the body, things begin to get out of hand. Their wives
don't
understand, the town folk are furious that they would continue to fish
with the corpse right next to them - and the dead girls family are
ready for revenge, labeling them racists that would have done things
differently had the girl been white. It's
without question a slow-burner, which can quite often be the nail in
the coffin for all to many Aussie flicks. The theory that "Hey, we
haven't got the cash to impress with explosions - so let's make
something thought provoking" is all to often used as an excuse for a
snoozefest disguised as art. If I had a nickel for every time I've had
to sit through a grainy Aussie flick set in a run down suburban house
which follows the perils of a drug addict-murder victim-broken family
drama, I'd be able to open a bank (or possibly fund a Big Budget Aussie
film).
The
tone seems to shift in odd spots, and there are far
to many sub-stories that really bog down the pace of an already slowly
paced flick. The ending, too, may leave viewers a little unsatisfied
and confused - but it's all part of the overall mood Lawrence has opted
to create. However, there are several good performances on offer (in
particular
Aussie veteran, John Howard, as the portly voice of reason) - and
surprisingly, not from the big flow-in names in Gabriel
Byrne and Laura Linney. To be blunt, Linney often detracts from the
believability of the film (as well as the enjoyability - I don't think
I've ever seen here in a likable, empathic or non-irritating role).
However, it's a small glitch on an otherwise fine ensemble.
The
film really kicks into gear by the third act (it's a long hall in
getting there, but there are some worthwhile scenes once you do), with some top notch
performances from Byrne (who really conveys the frustration of being
misunderstood in a tornado of high-morality and the ill-informed
superbly), Deborra Lee-Furness and Chris Haywood.
By no means as enthralling or polished (plot-wise) as Lantana
- it was always going to be a tough flick to follow up - however, there
is more than enough substance and style on offer to keep film fans
engaged.
There's so much water so close to home, and it seems, quite a bit of talent.
EXTRAS
A
couple of extras on offer here, most notably an interesting 'Making Of'
featurette (which, from an Australian point of view, is quite amusing
listening to Byrne and Linney's opinions on their Aussie surroundings).
Theres also a few deleted scenes here or there, which don't really add much - but do they ever?
Well worth a look - if only to see what can be achieved when Australians make films right. Conclusion:
Movie 70% Extras: 50%
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