Friday, May 27, 2016

Simple and effective film debut – Göteborgs-Posten

Review: Family Secrets hurt her daughter

“If you’re living a lie from an average human take immediate happiness from him.”
It is a key point in Henrik Ibsen’s tragic play the Wild Duck from 1884. There is also a description of the Australian film daughter, directed by Simon Stone. the film is based on an updated and acclaimed stage version of the very wild duck, as Stone did for the theater Belvoir in Sydney five years ago. It’s just like the model a story about how the lies of a family hurt the young generation. And how not even the mighty, he who believes himself above the rules, can not escape the truth.
in the film version is the teenage girl Hedvig in the center. She is blissfully unaware of the great secret lurking in the dense spruce forest as a forgotten my, anytime ready to explode. Around her is her father Oliver sawmill worker, and her mother Charlotte, who is a teacher. But even his grandfather, who lives a solitary life after coming out of a prison sentence. They share a love of injured animals, including a duck, they have built a protective conservatories to.
When we come into the movie has been put sawmill. It is a hard blow for the small community, and Charlotte’s family.
Owner Henry coldly played by Geoffrey Rush, is the only one that is strong from the closure. He will marry his much younger fiancee. Just in time for the wedding, his adult son, Christian, childhood friend of Oliver, reluctantly returned home after living in the US for many years. He ends up in a difficult situation when he finds out who Hedvig’s real father is. Should he tell the truth to avenge his father, or should he keep quiet and maintain friendship with Oliver?
It is a type of drama that is made ever more frequently, with a large and renowned ensemble that portrays a story of life and death. And much is just so touching and strong as one might expect of an adaptation of the play that coined the word life lie. Odessa Young’s increasingly tormented filterless face reflects how the world around her crack. And Ewen Leslie, her father, shows the presence and warmth what it is to discover that one has lived his life as someone’s puppet.
Ibsen wrote in existentialist questions in his play, directly influenced by the philosopher Kierkegaard. Is it really worth to reveal things that only cause harm? Or is every man’s right to know the truth about their origins in order to live an authentic life? The film deepens never themes. Too much cinematic energy leaks from Paul Schneider, hardly impressive as Christian. His talkative pain will never be mine.
But that film debut considered giving daughter wanting more. It is a simple and effective story that confirms that the recent boost to the Australian film continues.

also look at:

festival (Thomas Vinterberg, 1998)
Snowtown (Justin Kurzel, 2011)
A family (John Wells, 2013)


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