Children of the Revolution

"Children of The Revolution" is one of those well-executed dark comedies, that the Australian Film Industry excels at. If one enjoys dark comedy with a heady twinge of surrealism, you're really going to enjoy this movie. Our best scene (without spoiling it) is when the three start dancing and handing out flowers, with Louis Armstrong crooning Cole Porter's "You're The Top" in the background. My friends almost fell off the couch with laughter. It's a gem!

One unsettling attribute of this movie is that it presents itself as if it were based on a true story. Judy Davis plays a Socialist who allegedly had an affair with Josef Stalin (F. Murray Abraham), and when she gives birth to a son with all the revolutionary's traits, there is some dispute about whether he is who everyone thinks he is. During the film he gets into all sorts of trouble with the law and eventually falls in love with a cop that frequently arrests him (Rachel Griffiths). Only at the end does the whim tone down to a serious drama. Whatever this movie has to say, it kept my attention all the way through.

...this is an extremely well-conceived, well-written, well-acted, and well-made film. The dialogue, in both its everyday scenarios and heated exchanges, is excellent; and the mockumentary style meshes perfectly with the nicely segmented, ever-twisting plot. Then, after making light of some serious history, the ending takes a dark, ironic turn to drive home its message that whatever political system you choose, the worst elements in human nature are here to stay...

This must be one of the most refreshing surprises I saw in a long time! Looks boring but it's ultrahilarious. In documentary style we learn something about Australia's dirty history (well this is a satire so don't check out the net for verification, okay?) We go back in the early fifties at where we find an Australian communist Joan Fraser (Judy davis) who really would give her life for the red star, it goes so far that she can arrange to meet the man Stalin himself (all of course before the public knew of his slaughters) and what Joan never expected...she ends up in bed with Stalin but as the man is walking on his last feet, he dies... Agent Nine (Sam Neil) tells her she's a hero who saved Russia and that same night she also ends up in his bed.... Not knowing what to do Joan returns to Australia finding out that she is pregnant. She doesn't tell her Australian boyfriend who the father of her child is....but the poor b*****d accepts. But soon trouble happens when agent Nine returns to the land of the kangaroos...cos the question is : who is the father? He or Stalin? Things of hilarious things are following and we follow the days of the child Joe welch (Richard Roxburgh). For communist mum he's a perfect child...always to be seen at manifestations against the Vietnamwar but then the nightmare strikes...Joe falls in love with a female cop! Really it's totally hilarious even if the personages always stay sober but it's the kind of script that leaves you not one minute in silence. A perfect film from a rather unknown director, see it!!!!

As many of the other reviews suggest, if you have ever been a lefty or if your parents were lefties you will enjoy this film. You really do need to have some familiarity with the vocabulary of socialism in the 1930s and 40s to fully appreciate how good this film is. The German film "Goodbye Lenin!" (2003) touches the same sort of themes.

So, anyway, the script well written, literate and just a bit edgy, the way Australian films often are. The back story is wonderful and is ably developed by Sam Neil, Judy Davis and F. Murray Abraham. To my eye the cast has given a back story a wonderful 1940s or 50s feel. Sam Neil is good, as always, and remind me of James Mason. Judy Davis is good the way she is always good and reminded me of Betty Davis. F. Murray Abraham's performance actually reminded me of Claude Raines.

This film works on many levels and Richard Roxborough and Rachel Griffiths are very good but I as am more familiar with Russian communist dogma and American films from the 40s and 50s, I am sure I missed a lot when the film turned its attention to contemporary Australian politics and the civil service.

I loved the way the "International" was used in the sound tack. Of course it had to be there but I really liked the way it was used here.