2023 French comedy-drama directed by de Gilles Legardinier in his directorial debut, Mr. Blake At Your Service stars John Malkovich, Fanny Ardant, Émilie Dequenne, Philippe Bas, Eugénie Anselin, Al Ginter, Anne Brionne, and Christel Henon and is based on the director’s novel Complètement cramé! (Completely Burnt Out!).
At times, it was slow and dragged a bit, always seemingly waiting for something to happen. The tempo was slow, the speaking was slow, and you felt the need to know more about the somewhat implausible characters, but maybe that’s part of its charm.
For most of the movie, there is a sadness that lingers over everything with an unlikely collection of lonely, odd characters.
Having seen the lead actor, John Malkovich, depict the evil guy in many movies, I found myself expecting him to suddenly turn into the big bad guy with all hell breaking loose AND then all of a sudden he sort of does!!!
It seemed like the premise held a lot of promise but never quite lived up to it. And then suddenly, it sort of just does!!! The mood goes from sad to silly, and suddenly, you almost…… I did say almost—don’t want it to end.
The plot was holey, the characters thin, and the tempo sluggish, but, despite myself, I found I was enjoying it anyway. Even though finally, after all that damned melancholy, without giving anything away, I was so happy I actually cried – real tears – maybe of relief!!
If you want a movie that you’ll probably like even with all its faults, this one’s for you. It’s especially for you if, like me, you love a happy ending (no!! Keep it classy, please!!).
This review also appears on It’s On The House. Check out more reviews at Whats The Show to see what else is on in your town.
The Tundra Within Me is part of the Scandinavian Film Festival, Freedom From Fear stories. The film is set on the snowy plateaus of Northern Norway and revolves around an erstwhile reindeer herder who gave it all up to become an artist in the city.
The main character, Lena, is played by Risten Anine Kvernmo Gaup and presents the film’s main problem, ergo, a not particularly likeable central character. As a single mother with one son, Lena returns to her roots and almost immediately embarks on an affair with a local herder, Máhtte, (Nils Ailu Kemi,) who isn’t particularly likeable either. Neither party is represented as particularly appealing, which makes for dull, screen-time company. Sigh!
Unfortunately, first-time director and writer Sara Margrethe Oskal presents us with a predictable, linear narrative that is weirdly enervating. However, the film’s strengths are the landscape, the actual reindeers, and some beautiful footage of the Aurora Borealis.
As the plot progresses, there’s a (slight) love triangle presented, amidst a bit of phone-texting. (Roll of eyes) Lena draws by romantic-looking candlelight, what? Generally, artists need a bright, stable light source, and her naked, reindeer horns n’ skull themes are risible. (Any teenage, angst-ridden, ex-art students in da house?)
That being said, there’s a local yoiking competition, which is a kind of indigenous chanting, and singer Gaup can hold a tune. Perhaps this is why she was cast? This is a high point in terms of her performance. Credible supporting cast include Anitta Suikkari as the disapproving Márjá and the local bar-owner, (name unascertainable,) amidst other Guap-family members, including the son. No nepotism here!
It’s all a very tepid, or should that be icy? affair that is ultimately unsatisfying. Like the title, perhaps something has been lost in translation? Better writing and casting might have made a difference, especially when the film revolves around one character. The film does have something to say in regard to the clash between modernity and tradition, and it does provide an insight into the traditions of the Sápmi herding life; for that, it may be worth seeing.
My Rating: Slushy – as in the melting snow kind
This review also appears on It’s On The House. Check out more reviews at Whats The Show to see what else is on in your town.
Prima facie—a Latin phrase meaning “at first sight” or “based on first impression”—is used in civil and criminal law to denote that a legal claim has sufficient evidence to proceed to trial upon initial examination.
Prima Facie opens with defence barrister Tessa Ensler (played by Sophia Forrest) confidently sauntering onto the stage, ready to tackle her latest court case. Tessa is in her element, prepared to interrogate and break down her witness, determined to continue a several-month winning streak. The script voices Tessa’s inner thoughts, providing a blow-by-blow account of her strategies and tactics. We learn that her impressive win streak includes several sexual assault cases.
The dialogue in this one-woman show utilizes Tessa’s internal monologue throughout, allowing us to follow her journey intimately. Through Tessa’s thoughts, we meet the significant people in her life and experience the play’s events. Sound effects skillfully enhance the emotional depth of the opening scene, conveying an additional current to Tessa’s thoughts and underlying emotions, allowing the audience to connect with her immediately.
As the play progresses, Tessa’s seemingly upward journey is disrupted by an event that leaves her questioning everything she knows. Her previously slick demeanour gives way to confusion and vulnerability, depicting the emotional turmoil of seeking justice and needing to be believed. The play explores the toll on her personal and professional life as she grapples with shattered illusions and seeks justice. Has she been unfair in her past treatment of victims in court interrogations?
What will the aftermath of this event mean for her? Will she be believed? Will justice be served? Will the perpetrator walk free? Will her voice be heard?
Congratulations must go to the production team for compiling a finely-tuned show. The set, costumes, sound, and transitions blend together seamlessly. The large stage is cleverly utilized, with versatile wooden boxes transforming into various props for each scene. The backdrop shifts smoothly, with a revolving stage component used cleverly in scene transitions, depicting locations from courtrooms to nightclubs. Visual media elements add tension at critical moments, offering visual insights into Tessa’s inner journey and effectively depicting time shifts in the play’s action.
Director: Kate Campion
Set Designer: Bruce McKinven
Set Realizer: Andy Cross
Costume Designer: Lynn Ferguson
Lighting Designer: Peter Young
Composer & Sound Designer: Melanie Robinson
Audio Visual Designer: Jessica Russell
Sophia Forrest’s outstanding performance anchors this intense one-woman show. Forrest adeptly portrays multiple roles, guiding the audience through Tessa’s transformation from a confident lawyer to a victim seeking redemption. Through the internal monologue, she effectively embodies the slick lawyer, interrogator, interrogatee, victim, daughter, sister, judge, and judged.
Enough credit cannot be given to Sophia Forrest for the remarkable effort in tackling the immense content of the role with skill and finesse. One can only imagine(shudder at) the mountains of preparation required to portray this role so successfully. A shoutout to understudy Holly Easterbrook, who must also have undertaken a similar journey in terms of effort and preparation.
The play’s heavy themes are thought-provoking and resonate deeply. You won’t necessarily leave the theatre with a light heart, but you will leave with plenty to think about, having witnessed a first-class production.
Prima Facie runs at the Heath Ledger Theatre from July 1 to July 21. Tickets range from $30.00 to $139.00.
The show lasts one hour and forty minutes without an interval. Content warnings include strong themes of sexual assault, coarse language, and the use of haze and smoke effects.
Photographer Credit: Daniel J Grant
This review also appears on It’s On The House. Check out more reviews at Whats The Show to see what else is on in your town.
It’s always a pleasure when theatre companies step away from big-name shows to bring local audiences more unique (and often fantastic) shows. Limelight Theatre is the latest in this endeavour – giving Hands On A Hardbody an exceptional Australian debut with excellent production values.
Based on the 1997 documentary of the same name, Hands On A Hardbody is the unexpectedly heartwarming story of competitors vying to win a pick-up truck by being the last person to keep their hands on the vehicle.
Spanning over nearly four days, we meet a pool of characters and learn why they’ve come to take part in the competition and how the win would change their lives. The hardbody in question is a thoughtfully designed piece that anchors the show, offering actors versatility in their abilities to interact with it and each other.
Designed by Mal Anderson, the rest of the set is equally impressive. It helps to bring the ageing car dealership to life, with a lack of side stage curtains creating an outdoor feel to the auditorium. Effective lighting and sound design add to the ambience while assisting in showing the passing of time.
A strong ensemble cast—Breeahn Carter is simply captivating as Heather Stovall, with great spunk and confidence, while Lukas Perez brings an infectious energy to Norma Valverde. Phil Bedworth gives great depth to previous champion Benny Perkins, and Rodrigo Goncalves de Azevado is compelling as Jesus Pena.
Helen Carey and Brad Beckett are utterly endearing, as are Janis and Don Curtis, and are well-balanced in the tense relationship of J.D. Drew and his wife Virginia (Chris McCafferty and Gillian Binks).
Amber Wilson leads the competition as Cindy Barnes, who is the perfect balance of sweet and stern against Ben Mullings’ slimy Mike Ferris. Jacob Anderson is a ball of energy as radio host Frank Nugent. The cast is rounded out by a small ensemble and brief appearances from the competition’s early bow-outs, including a crowd-pleasing Christian Dichiera.
Vocally, audiences are treated to a suite of talent, with slick ensemble singing and harmony work under Sean Davis’s leadership. However, occasional imbalances in sound mixing left soloists momentarily overpowered by the chorus.
Individual stand-outs include Brittany Isaia and Joshua Hollander’s ‘I’m Gone’ – showing off the pair’s palpable chemistry and lovely vocal tone. Riley Merigan also displays his powerful vocal chops in ‘Stronger.’
With performers limited in their movements to stay in the competition, Jane Anderson’s choreography is to be commended – thinking outside the box to create engaging numbers with ‘Joy of the Lord’ a particular high point.
Co-directors David Nelson and Jane Anderson have put together a fun-filled, cohesive production deserving of full-house crowds. It’s a definite recommendation to anyone into a ‘human drama kind of thing.’
This review also appears on It’s On The House. Check out more reviews at Whats The Show to see what else is on in your town.
