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For those who are not located in Australia, the film and television industry is extraordinarily minute and is somewhat barren when it comes to big budget, high popularity mini series’, films made for television and television series’ alike. As such, when a series or film is advertised that seems to possess a considerable amount of potential, such as the current epic crime biography “Underbelly” that has attracted even more attention due to it being prohibited for air in Victoria because of an on going court case; audiences are intrigued.
With all due respect, we, as a country with a struggling Arts and Entertainment Industry, are barely able to churn out three or four “big-budget” films or mini-series’ to be consumed, scrutinized, praised or ignored by the general public per year. This in turn, results in a heavy reliance on what is indeed churned out to be more than good. It has to be consistently riveting and possess the potential to rival television shows on air from America and other countries around the globe.
“Emerald Falls” a supposedly ‘big budget’ Australian film made for television aired to the general public last weekend on Sunday evening on free to air TV. It was written by, produced and starred Gold Logie nominee Georgie Parker, as well as Vince Colosimo (who can usually make any role he plays at least mildly interesting) but alas, even he failed to liven the plot or the stereotypical characterisations seen a multitude of times in Australian film and television over the last five decades. One would think, that with an opportunity that was given to Georgie Parker by the NSW Film and Television Commission, one would have chosen to think outside the square and not try to emulate and regurgitate already disinteresting plotlines and characterisations to the very small amount of audience that would have remained after this bout of boredom presented consistently throughout the film.
The lacklustre and tiresome plot revolved around the divorce of Jodie Ferguson (played by Georgie Parker) from her Lawyer husband, Paul (Rhys Muldoon) and as such Jodie and her son, Zac (played by Tom Green) move to the Blue Mountains to follow her dream and business pursuit of opening a Bed and Breakfast, only to be confronted with a fraud of a doctor who is murdered, a female church minister who was having an affair with the deceased, a base jumping tour guide who runs from the police when investigating the murder for no reason, a corrupt Policeman who only appears to be corrupt in the last 30 seconds of the film and a nomad (Vince Colosimo) who pops up every now and then to invoke even more unwarranted and unnecessary disorder and disarray within the plot.
Not only was the resolution pathetic and predictable, the duration of the plot was not clear, occurrences in the transparent plot happened for no apparent nor relevant reason and character inter-relationships were ill-defined, superficially and stereotypically portrayed.
On a lighter and more positive note...
The only commendable performance in the film was that of Zac, played by Tom Green. Playing the role of the inquisitive and investigative young son not dealing well with the split of the stereotypically divorced parents now living either side of the state, Zac eventually reveals the identity of the supposed killer after emulating the role of a forensic investigator, albeit under unrealistic proportions due to common sense and law. Despite this, Green managed to capture the audience and continued to be the only consistent positive aspect throughout the entire 120-minute duration of the film.
(Allow me to be slightly more ruthlessly honest than i usually am)
Unfortunately for Green, Georgie Parker’s performance did not match his, and may sadly deny her the possibility of a Logie nomination for this role and the film, as she had previously been awarded most deservingly for her contribution to film and television in her previous works. Playing the role of the separated mother, intrigued by the nomad and the potential of a future relationship whilst moving away from her problems, her ex-husband and spending time with her seemingly depressed son, Parker's characterisation seemed slightly dull and due to her assuming the role of the central character, her performance subsequently detracted from the overall value of the film thus exacerbating the lacklustre plot and its characters. She did however, look the part in the film whereby her costuming highlighted the rapid transformation from the nurse in All Saints by which she is perceived to be most famous to in turn show her versitility in the visual aspects of her characters.
Vince Colosimo was, indeed Vince Colosimo in this film. No Austrlian film is complete without him. His reputation within the Australian Film and Television Industry far surpasses any Australian actor in recent years. He is a true talent, and can play any role. However, it is sad to see him in such a film as this, where his acting talent cannot and was not displayed to its full potential. Although, I doubt the film would taint his reputation and resume much due to the fact that it was him and Tom Green that made the film almost bearable only to be thwarted by the previously mentioned plot inconsistencies and vague characterisations from the majority of the cast.
The setting, however was breathtakingly remarkable, and proved to be the highlight of the film. Set in the Blue Mountains, the actors and the plot tended to rely on the setting for the film a little too much thus becoming distracting and slightly repetitive. However, at least the audience now knows the landscape of the Blue Mountains thanks to the documentary style and panoramic camera shots utilized consistently throughout the film.
I do believe that with a different cast, interpretation of the script and production crew, ‘Emerald Falls’ may have been somewhat of an appealing and fascinating saga. Unfortunately for the audience, channel 10 and the cast and crew, it was not even close. The idea was effectual but the result was monotonous.
Kudos to Georgie Parker for embarking on such a vast array of roles on and off-screen, as anyone who chooses to multi-task the way she did much be commended. However, it certainly does seem that perhaps the script was found under a rock in the Blue Mountains itself.
Please dont get me wrong, i have the upmost respect for the Australian Arts and Entertainment industry, those who are working in it and developing pieces for audience consumption; I appreciate every single one of them. It merely disappoints me when the outcome is a result such as this when we as a country work so hard for notoriety and acceptance in the big picture of Arts and Entertainment industries around the world.
Let us cross our fingers and now look forward to the next Australian Film and Television Commission's work such as the already impressive and popular 'Underbelly' starring, you guessed it - Vince Colosimo, the forthcoming 'Canal Road' and more.
Fin.
Over the last 4 decades, the story of the boy who never grew up has reached children and adults alike around the globe. Whether it be in form of novel or play, or the eventual transition to what is considered the original film by Walt Disney in 1953, one cannot discuss at length their childhood or adolescence without mentioning at least the story of Peter Pan; no matter what form it may have taken and the effect it has had throughout their years. For some, the effect has been merely at face value, reading,re-enacting and/or watching the story for sheer entertainment purposes; whereas others find a more profound value inherent in the story and subsequently associate themselves with a higher and more complex level of understanding of the story and the tale that is told and referred to throughout many a remake. It is these remakes that keep the story of Peter Pan alive, for entertainment value or for that something else.
Four mainstream films based on J.M. Barrie's novel of "Peter Pan: The Boy Who Never Grew Up" spanning over 40 years have continued to play a constant role in the cinematic world and is one of the only tales to have been re-told so many times through a variety of interpretations. From Walt Disney's cartoon tale in 1953, to Steven Spielberg's story of "Hook" in 1991, to the non-cartoon revival of Peter Pan by P.J. Hogan in 2003, to Marc Forster's biographical tale in 2004's "Finding Neverland", the story of Peter Pan has been transported into the modern world of entertainment and made idealised for a wider range of audience consumption and enjoyment at any age thanks, in due part to these 4 films.
When Walt Disney's original film was released to available screens across the world in 1953, it encapsulated everything a children's tale should encompass both then and now. It not only ignited children's imaginations but also taught them a classic lesson in terms of the differentiation between the imagined and the reality. Whether young audiences immediately related with the latter notion or reflected on the concept later in life, the colourful cartoon in conjunction with its creation of Never Neverland, the soundtrack, the characterisations and the subsequent character relationships painted an iconic picture of what one's childhood should be a combination of as well as maintaining the entertainment aspects that have outlasted the decades.
It wasn't until 1991, just over 30 years later, that the notorious Steven Spielberg decided to utilize the tale by investigation the tale at the other end of the spectrum; the tale of the boy who allowed himself to grow up and subsequently suffer and in turn deal with the consequences. This film was popular for a variety of reasons. Not only did it star Robin Williams as Peter and Julia Roberts as Tinkerbell, two of the most reknowned and respected actors of the 1990's, but it also posed the question of "what if"; in terms of what could potentially happen if the boy who once professed never to grow up actually did and how it affected those who were most prominent in his life then and now. The realistic element of this film portrayed in the set design and characterisations proved more than successful and drew audiences in to share the once perhaps considered notion of "what if" that had existed since the cartoon release in 1953 and perhaps earlier after reading J.M. Barrie's novel. This interpretation aroused contemplation and admiration from critics and audiences around the world. It was emotive and consistently entertaining from scene to scene and continued to exhibit glimpses from the original cartoon film whilst producing what was then considered a modern "spin" on the tale. There was no one better than Robin Williams to have played the adult Peter Pan in this film, purely due to his phenomenal ability to inhabit his own interpretation of the character and as a result make the successful transition from paper to screen and continue to ignite audiences imaginations. Due to the nature of this remake, a much larger target audience ranging from childhood to adulthood was reached thus allowing the revival of the classic to continue.
2003 was a prominent year for yet another remake of Peter Pan. This time, it was the remake featuring humans as characters from the exact story as opposed to the cartoon representations seen since 1953. P.J. Hogan's "Peter Pan" was perhaps the most successful remake in contemporary times due its classification as somewhat of a "blockbuster" film featuring extreme cinematic special effects, a musical score by James Newton Howard, up and coming young actors such as Jeremy Sumpter as Peter Pan and actors such as Jason Isaacs who were already known by audiences and fellow actors alike. This film was indeed magical in its interpretation and despite the new and up coming actors featured in this film never being heard of in mainstream film again, the film gained a positive response by audiences because it had encompassed the same traits evident in the original cartoon version by Disney in 1953. The film was a lot more dramatic in comparison, and whilst some may consider particular characterisations as melodramatic, critique against the film was quashed by reviews that proclaimed the film to be indeed as good as the original, if not slightly better. It was becoming seemingly evident that as more and more remake's of the Peter Pan classic were gracing the cinema screens, the popularity of the tale escalated, so much so that in 2004, the biographical tale of J.M. Barrie and his story of Peter Pan by Marc Forster entitled "Finding Neverland" was nominated more than once at the Oscars.
Finding Neverland was indeed the most contrasting of all remakes and revivals of the Peter Pan classic. Not only did it provide audience members with the story behind the classic tale, its influences and the biography of J.M. Barrie himself, but it was much less understated in its production. This interpretation is perhaps the most beautiful because it did not need grandiose special effects exhibited in the previous remake from 2003. This remake of the tale possessed a well rounded view of how the tale came to life and the imaginary tale itself. In addition to its Oscar nomination, the cast played a key role in attracting audience members due to the realistic interpretation that was and is still associated with the film. Johnny Depp and Kate Winslet as well as new comer Freddy Highmore inhabited every inch of the screen and the tale. Their characterisations were intense, emotive and enriched the film much more so than any other remake due to them not having to rely on any other cinematic effects. What makes this film stand out from any other remake is its ability to evoke a multitude of emotions within the mere 2 hour length of the film. If you were to ever see just one film based on the Peter Pan classic, this would be it. Whilst the other remakes relish and perhaps hide behind the mask of special effects, it is "Finding Neverland" that displays a combination of all cinematic processes, soundscape and score, actors and their characterisations that compliment eachother to in turn prove worthy of the subtle acclaim is has attracted. And whilst it did not win at the Oscars, it was seemingly close.
Whether it is cartoon to the possibility of adulthood to blockbuster to oscar nominated and understated, a tale such as Peter Pan deserves all the positive acclaim one can muster. However, whether you love it, loathe it or are somewhat indifferent to it, the fact is within the last 50 years, you have heard of it and know of it; and for now that is something.
Fin.
The atypically kooky filmic style of the one and only Tim Burton is once again exhibited in his latest film, “Sweeney Todd: The Demon Barber of Fleet Street”. Featuring components that are ever so “Burton-esque” in his own right, every avenue of the film continues to live up to the high, amusing and abstract perceptions that the Depp-Burton collaborations have attracted over the years with films such as Edward Scissorhands, Sleep Hollow and Charlie and the Chocolate Factory.
The target audience for a film such as this seems to be a lot smaller compared to the audience Depp attracted for movies such as the Pirates of the Caribbean trilogy, but nonetheless he continues to live up to the high expectations and speculation surrounding the film. Depp’s characterisation of the Demon Barber is mesmerising, even throughout the most gruesome of scenes. His characterisation allows the audience to completely immerse themselves in the many sides of the multi-faceted character and as such find it more than difficult to turn away from the screen, even in the extremely realistic throat slitting scenes.
Being his first on-screen attempt at singing, in particular in the musical theatre genre, Depp has been both praised and criticised for his musical debut. Some claimed that he sounds like a karaoke singer whilst others printed that his melodic characterisation on screen has rivalled the Broadway performance. In my opinion, the way in which Johnny Depp has masterfully encompassed the tragic and miserable undertones inherent in not only his character of Sweeney Todd but also within the entire film is most accurately reflected in his voice both when speaking and singing. Due to its use of camera angles and scene sets, over-exaggeration is not required in characterisations in films such as this and because of this notion, his singing adds to the overall perception and understanding of the movie. Johnny Depp’s characterisations are always so engaging, and his development of Sweeney Todd is no exception.
In addition, praise must go to Helene Bonham Carter for her characterisation of Mrs. Lovett in this film. She truly proved her place on screen opposite Johnny Depp and that is not purely because she is married to and has children with the director, Mr Burton himself. Some may say that the only reason she attained the lead female role was because of the aforementioned notion that she is indeed married to Tim Burton; however, I truly believe that no one else within the Hollywood industry could have portrayed Mrs Lovett the way Bonham-Carter did, making the character more than her own in the film. As an audience member I was drawn to her, I empathised and sympathised with her during every moment in the film.
Finally, just a quick acknowledgement to the Borat man himself, Sacha Baron Cohen. Who would have thought that for someone to make the transition from a fluorescent yellow mankini to supporting actor opposite two of the most acclaimed actors in the Hollywood circuit and own the character of Pirelli as he did, would be possible?
Kudos to him!
Sweeney Todd is indeed a gruesome film, encompassing the true Tim Burton style associated with the majority of his films. The sepia tone that the entire film is set in, the script and songs as well as the intensity of the actors’ characterisations and journeys truly makes this film one you have to see. Look past the gore, and into what is really going on. Tim Burton is most definitely a master of the screen. The way his mind works is most definitely astounding! Look closely and try to find similar traits from the film inherent in other movies of his such as Sleepy Hollow, Edward Scissorhands and even Charlie and the Chocolate factory. It really is no wonder as to why this film and its actors were nominated for and won at the Emmys and the Oscars.
Every season we, as consumers of fashion, are bombarded by particular styles and trends deemed fashionable by high fashion brands and institutions on the catwalk. Many of these styles and trends are exquisite in their design and make, but there are always some designs that really make an audience as the consumer think… “What the?!”
As fashion conscious citizens we continue in our attempts to replicate these trends so as to remain up-to-date and to resist the fear of slipping into that dreaded category that many fall into everyday… the dreaded title of “unfashionable”. (bom, bom, BOM!) [ Click here to read more ]
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Comment by Latoyah
on Michael Clayton (2007) - Trailer Included
Your blogs and posts are great, looks like you've been a member for a long time! Im still new to this, but it looks very good indeed.
Thanks for reading, means a lot!
Latoyah