Somersault

Somersault
by
Robert Ford

If Somersault had been made ten years ago, it might have been the kind of indie film that Miramax would have bought and found a way to market to an American audience. But with the Weinsteins now going up against the major studios and concentrating on producing hundred-million-dollar Oscar bait, small art-house films like Somersault are finding it harder to get U.S. distribution. It was a hit at the Cannes film festival back in May, and since then has created plenty of hype in its native Australia . It has also been nominated for a record fifteen AFI (Australian Film Institute) Awards.

Set in a ski resort in the Snowy Mountains, the film shows a landscape that most people do not even know exists in Australia , a country usually associated with arid desert interiors and the surf culture of the coastal cities. A white winter in the mountains is the perfect, but unexpected, setting for director Cate Shortland's dreamy, lyrical style of filmmaking.

The story itself is fairly simple. Heidi (Abbie Cornish) is a confused teenager, desperately craving affection. Unfortunately, she has not yet learned to distinguish love from sex. After being caught in bed with her mother's boyfriend, Heidi runs away from home to the Australian Alps. She finds a job and lodgings and slowly begins to build a life for herself in the adult world.

Heidi's life is turned upside down again when she embarks on a tempestuous relationship with a local boy, Joe (Sam Worthington), who has his own issues with intimacy and commitment. Through these two characters, the film explores the way young people are shaped by their experiences and the people they come into contact with.

Somersault is not your average coming-of-age drama. Shortland, directing her first feature, has crafted a vibrant and richly textured cinematic experience. She bathes entire scenes in different colours that highlight the moods and emotions of the characters. Such an unsubtle technique could have been disastrous, but actually works well in the context of such a complex, layered piece of cinema. The soundtrack, by Sydney band Decoder Ring, consists of the kind of electronic buzzes and beeps usually heard on a chill-out album, not a film score. But this ambient music complements the film's dream-like visuals perfectly. Of course, none of this would be worth very much if the acting was not up to scratch. Fortunately, Abbie Cornish carries the film with her brave performance and luminous beauty.

Somersault was produced by Jan Chapman, who also produced several of Jane Campion's films. It portrays the same powerful, raw emotions as a Jane Campion film, but is not as dark in style and tone. And like all successful character studies, it gives us an understanding and empathy for characters who, although not always likeable, seem like real people with real problems.

Serious, adult films like Somersault, and, from a couple years ago, Ray Lawrence's Lantana, with their solid grasp on human drama, show us that there is more to Australian cinema than camp classics like Muriel's Wedding or Priscilla: Queen of the Desert. Let's hope we'll be seeing more of the same.

There seems to be a perception, especially among younger audiences, that period dramas are usually stale and lifeless affairs. Quentin Tarantino called them “unwatchable movies from unreadable books.” With Vanity Fair , Indian director Mira Nair tries to spice up the genre by adding bold Eastern-influenced visuals and 21st century Girl Power.

Based on the William Thackeray classic, Vanity Fair is the story of Becky Sharp, an artist's daughter with aspirations to become part of London 's titled upper classes. She schemes, manipulates and even marries to elevate her social position, prompting one snobbish character to refer to her as not just a social climber, but a social “mountaineer."

The film examines a 19th century woman's relationship with society, but skims over her relationship with her own husband and child. Does she even love them? The film neglects to make this clear. What makes it even more confusing is that this anti-heroine is played by Reese Witherspoon, who radiates sweetness and charm. Becky is a blatant user of people and a seemingly uncaring mother, but with Witherspoon in the role audiences cannot help but like her.

The film depicts London at a time when the Orient first began to have an influence on British design and culture. Mira Nair creates an almost hypnotic effect by using bold colours, shimmering costumes and highly elaborate sets. It will be no surprise if the picture earns a few Oscar nominations in the design categories.

This is a frock flick which is great to look at -- shiny, dazzling and strangely modern. Unfortunately, the film's ambivalence towards its main character will prevent audiences from becoming completely gripped and involved in the drama.

©2004 Robert Ford
CineScene