Ned (Ben Mendelsohn) is a middle aged writer, driving with his much younger girlfriend Toni (Maeve Dermody), to his father's outback ranch. His father (Bryan Brown) is dying. Ned has not seen his father for twenty years, the last time was the summer when his sister Kate (Sophie Lowe) and also his brother Cliff both died. Ned is haunted by the memories of his sister and it is gradually revealed that they shared an incestuous relationship. Also staying on the ranch is Ned's other sister (Rachel Griffiths) who is at odds with the immaturity and rudeness of Toni.
Based on the novel by Newton Thornburg, Beautiful Kate is another competently made Australian film, written and directed by Rachel Ward. Shot on location in South Australia, the film is beautifully photographed and takes its time to reveal its secrets. This is quite a nostalgic film but ultimately a passive experience. The film uses many integrated flashbacks to show how Ned and his sister came together. Unfortunately, despite being the most poignant and interesting aspect of the film, much of this is relationship remains highly fragmented and never fully explored. Had the film been shown from the perspective of the children, rather than from adulthood, it may have been a more fascinated film. The isolation in such an area, along with little intimacy from their parents – their mother died and their father was tough – suggests their affection for each other but it deserved to be explored in more depth. Given that are our view of Ned and Kate as a brother and sister is highly fragmented and scarce their incestuous behaviour is perhaps never as shocking as it should be. It would be interesting to see if it was more thoroughly described in the novel. As it stands not a lot happens in the present stages of the film. A stationary area like the ranch in the film does not offer a lot of opportunities for action.
The films performances are collectively excellent. Bryan Brown captures the vulnerability of the old man strongly. His character is an extremely rough and hardened man, often crudely spoken. When Toni asks him what Ned's weakness is he replies with the word 'cunt'. Yet despite his coarseness there is little doubt over the grief for both of his children. Mendelsohn is fine as well, but we have to question why his character Ned chose such an immature partner in Toni. Perhaps this is an echo of his youth with Kate, but with such guilt about his behaviour with her, it is difficult to understand this complexion between his sexual longing and his remorse. The weakest character is easily Dermody's Toni. Toni has been characterised intentionally as an extremely rude, immature, brat. Her comments throughout the film are regularly irritable. When she is told that Kate is no longer with the family, she asks "she's dead?" It is little loss to the film when she eventually leaves. Alone her character offers little, by in relation to Ned it allows him to develop by the end of the film from a man who yearns for his sister, in memory and sexually through Toni, to someone who we assume will understand his limits. Ned ominously places Toni's name tag next to the speed limit of his car as he drives away at the end of the film.
Beautiful Kate is a mature Australian film, but one that could have been more insightful and sophisticated in its handling of its youngest relationship. The performances are terrific but like many adaptations one must question how much of the novel was omitted for the screen. Had more time been dedicated to the childhood of the characters, the emotion of the film could have been further elevated, and a more thoroughly powerful story could have been delivered.
Based on the novel by Newton Thornburg, Beautiful Kate is another competently made Australian film, written and directed by Rachel Ward. Shot on location in South Australia, the film is beautifully photographed and takes its time to reveal its secrets. This is quite a nostalgic film but ultimately a passive experience. The film uses many integrated flashbacks to show how Ned and his sister came together. Unfortunately, despite being the most poignant and interesting aspect of the film, much of this is relationship remains highly fragmented and never fully explored. Had the film been shown from the perspective of the children, rather than from adulthood, it may have been a more fascinated film. The isolation in such an area, along with little intimacy from their parents – their mother died and their father was tough – suggests their affection for each other but it deserved to be explored in more depth. Given that are our view of Ned and Kate as a brother and sister is highly fragmented and scarce their incestuous behaviour is perhaps never as shocking as it should be. It would be interesting to see if it was more thoroughly described in the novel. As it stands not a lot happens in the present stages of the film. A stationary area like the ranch in the film does not offer a lot of opportunities for action.
The films performances are collectively excellent. Bryan Brown captures the vulnerability of the old man strongly. His character is an extremely rough and hardened man, often crudely spoken. When Toni asks him what Ned's weakness is he replies with the word 'cunt'. Yet despite his coarseness there is little doubt over the grief for both of his children. Mendelsohn is fine as well, but we have to question why his character Ned chose such an immature partner in Toni. Perhaps this is an echo of his youth with Kate, but with such guilt about his behaviour with her, it is difficult to understand this complexion between his sexual longing and his remorse. The weakest character is easily Dermody's Toni. Toni has been characterised intentionally as an extremely rude, immature, brat. Her comments throughout the film are regularly irritable. When she is told that Kate is no longer with the family, she asks "she's dead?" It is little loss to the film when she eventually leaves. Alone her character offers little, by in relation to Ned it allows him to develop by the end of the film from a man who yearns for his sister, in memory and sexually through Toni, to someone who we assume will understand his limits. Ned ominously places Toni's name tag next to the speed limit of his car as he drives away at the end of the film.
Beautiful Kate is a mature Australian film, but one that could have been more insightful and sophisticated in its handling of its youngest relationship. The performances are terrific but like many adaptations one must question how much of the novel was omitted for the screen. Had more time been dedicated to the childhood of the characters, the emotion of the film could have been further elevated, and a more thoroughly powerful story could have been delivered.