The Dressmaker - Die Schneiderin

This film will divide audiences and critics (as it already has; especially American and British ones), so it will be interesting to see whether it finds a market here in Australia. 'The Dressmaker' is the long awaited directorial return of Jocelyn Moorhouse. After 'Proof' was a major critical success in 1991, American features followed, but this is the first for Ms Moorhouse in nearly 2 decades. There is an audacious feel to this movie from start to finish and for me, an unexpected one. From the movie poster, this would seem like a period costume drama; well it is certainly set in a bygone era, and there is a panoply of amazing costumes, but this film is impossible to squeeze into a genre; making it a challenge to describe nor summarize.

As I write this review, the film has not yet opened nationwide in Australia; but if the preview audience I attended was any indication, this film will be enjoyed by local filmgoers, but will it find a mainstream audience? I somehow doubt it. It is anarchic; indulgent, broad, implausible and loads of fun!! I enjoyed most of its 2 hour running time; but the final quarter did feel clumsy with a little too much plot shoehorned in; giving it a chaotic and lurching quality. Early on I sat wondering how this movie will fit into the already idiosyncratic reputation that Aussie films have; both at home and on the world screens. 'The Dressmaker' is ultimately going to be its own genre. As an adaptation from the novel of the same name; there are so many characters to depict and follow; and part of the chaos was the litany of quirkily filmed sequences with a who's who of local talent. This is easily the best cast ever assembled for an Australian feature; from stand up comedians to TV icons, to stage and screen legends; and new talent.

Perhaps it will be the star lineup that will lure filmgoers into the cinema for this movie. Judy Davis, one of our most celebrated actors, virtually steals the movie from the British import, the amazing Kate Winslet. Davis is in top form here, showing a screwball comedic side; rarely seen in her stellar career thus far; perhaps only glimpsed in the Woody Allen films she has appeared in. With the blackened teeth; the haggard make up and hobo costuming, Judy is a riot as the mother to the story's protagonist. If Ms Davis doesn't get the AACTA for Supporting Actress, I'll be very surprised. And if the movie gets the right marketing, perhaps that elusive Oscar for one of the great unrewarded screen stars. The teaming of Judy with Kate Winslet works well; there are some riotous moments and tender ones too; which give the film not only respite from the breakneck speed but some gravitas. Liam Hemsworth is suitably the movie matinée idol; with his piercing blue eyes, his tall, muscular frame and that true blue Aussie drawl. Sarah Snook shows once again why she is the lady in waiting for the big time, and is racking up an impressive list of screen credits. There are so many great actors here: Sacha Horler, Barry Otto, Julia Blake, Genevieve Lemon, Rebecca Gibney, literally just naming a few, and perhaps best of all, a cross dressing Hugo Weaving, showing that there is nothing this great actor cannot play, and play admirably.

The film is beautifully filmed and designed, and the strange world of this quaint little town in the middle of nowhere is perfectly captured and lovingly presented. So what are the criticisms? I was fine with the morphing of black comedy, western, revenge, love story motifs and styles; but I struggled a little with the matching of Kate Winslet, who at nearly 40 is way too old to have been a contemporary of the characters played here by Snook, Hemsworth et al. Winslet is nearer the age of the actors playing the parents of her and her contemporaries - Alison Whyte and Rebecca Gibney. As gorgeous and brilliant in the role as she is, it does seem as if the film, which was possibly funded and built around Winslet, has forgotten about this age difference. At 25, Liam Hemsworth, and Sarah Snook at 27 simply don't look right in the context of the main characters return after 20 years. That said, i mostly ignored this, and just enjoyed this caper movie for what it is.

In reading reviews of the movie from overseas, and seeing the vitriol targeting the movie's 'mish mash' and 'mess', I reflected on which other films or filmmakers 'The Dressmaker' was reminiscent of. Wes Anderson's 'Grand Budapest Hotel' sprung to mind as well as the work of Joel and Ethan Coen and Quentin Tarantino. All of these storytellers dabble in an array of genres, rendering them difficult to categorize, whilst still engendering praise and an audience. Anderson's recent multi Oscar win, had a glorious cast, a beautiful design, and a similarly caper like quality: at times just silly, but handsome to watch and enjoyable in the moment, and arty for sure, but hardly earth shattering or deep and meaningful. I hope that Australian critics and audiences alike get behind 'The Dressmaker' as it is a caper movie; I don't think it believes it is making a weighty, earnest Oscar bait movie, but a roller-coaster of a cinematic kind; funny, biting, gauche, heightened,tense and raucuous; and at the end of the day, very very entertaining.

This is hands down the best film in the English language I've seen for at least two years. Not only does it do its source absolute justice, it adds a genuine, highly original Oz visual atmosphere to its themes. The cast is nothing short of amazing, with every single character bringing the utmost of their craft to the roles. Judy Davis delivers one of the best performances of her illustrious career, but Kate Winslet, Kerry Fox and Sarah Snook are also fantastic. Liam Hemsworth isn't just hotter than Chris, he's also the far more nuanced thespian. Hugo Weaving, one of the best actors of his generation, sinks his teeth into his beefy part of an exceedingly well-mannered cop in the 1950's Oz outback.

Winslet is the mysterious stranger arriving by night whom he delivers her luggage to in the beginning of the film. He quickly recognizes her as the girl he sent away following the death of a boy her age 25 years earlier. The townsfolk, including her quick-tempered mother played by Davis, alternate between suspicion of the motives of her return and attraction for her stunning dressmaking skills and resolute character.

Some people will find the meandering story, which constantly shifts between mystery, comedy, tragedy and romance hard to follow. It's their own fault. Everyone else will highly appreciate the original story, the excellent camera work and set design, the abundance of love shown in every frame for a project that took 15 years to realize. Its domestic success as the 2nd most successful film of 2015 after you-know-which-one could not be more deserved.

One can therefore only wonder why the Adacemy snubbed this for the Oscars, especially if you look at the usual suspects which represent the contenders this year. And as justified as the #OscarsSoWhite debate is, this omission also reminds us of another group of movie artists which are all too often absent from the list of nominees: Women. For what makes "The Dressmaker" so highly enjoyable on top of its original story, local feel and excellent cast, is that it offers a feminine angle of storytelling which we do not get to see enough.

Good, vengeful, beautiful colors, beautiful dresses, Kate always adorable, beautiful photography... The title led me astray, I thought it was a comedy, but so much drama, poor Tilly, just when you think everything will be fine, another loss comes , poor thing, but it could be cuter, I almost got tired of it... Rewatching it by mistake... But fabulously charming...

An attractive woman returns to her hometown in rural Australia. With her sewing machine and haute couture style, she transforms women and exacts sweet revenge on those who didn't believe in her achievements, but fabulously charming...

Based on the best-selling novel by Rosalie Ham, this comedy-drama is set in early 1950's Australia. It's a vibrant tale of revenge, mother- daughter bonds, small-town secrets and the great power of clothes, in a movie that is both bittersweet and funny and is dominated by a stunning, multi-layered performance from Kate Winslet. Jocelyn Moorhouse's latest feature is enjoyable enough and so unexpected, and let's be honest she also has a great team to help her achieve that. In few words, "The Dressmaker" is a dark comedy in Australian style, that will catch many by surprise, especially if you love clothes and fashion in general. nikisreviews.com

Well, that has to be the most conflicting movie experience I've ever known. I was invited to the premiere of The Dressmaker last night and I'm unsure whether I can say I loved it, hated it, thought it was hilarious, found it terribly sad, was frustrated because it was so weird or enjoyed it because some of the characters were so endearing - this movie caused all of these emotions and more. It's certainly entertaining - just so many roller-coaster sensations within the space of only a few minutes. A viewer will fluctuate continually between laughing raucously one minute only to find themselves experiencing deep sadness, anger, confusion or just plain asking yourself 'Why did they include this?' with the next breath. And they're a mix of the most quirky / weird / unlikeable / endearing / heartwarming characters I've ever seen / met. There was one character I didn't like at all, even though at some stages I still found myself laughing at some of their antics. I'm sure many readers will either disagree with me or think I'm referring to someone else - but that's okay, that's what makes us all different. The Dressmaker is definitely worth a look but not something I'd pay to see again - mainly because of the inclusion of that one character already referred to. This movie is very very dark in places and the ending is definitely not what you expect! The dialogue flurries and stubborn, though endearing, rapport constantly firing between Kate Winslet and Judy Davies are exceptional and certainly to be applauded. A very big hats off to Kate for a wonderful portrayal of an Aussie accent - you would swear she is a true blue Aussie. I have never heard anyone who wasn't born here to pull off an Aussie accent with such authenticity as she showed in this. Proves her calibre as an actress and the exceptional talent of Victoria Mielewska, her dialogue coach. Added to all of this, the budget must have been huge as every single person involved was easily recognisable from another movie or TV series - and most of them big Aussie names. So don't bother asking me whether you should go and see it - you'll just have to go along and see for yourself - but I can almost guarantee it's definitely not at all what you'll be expecting. And interestingly, other ladies in two book clubs I am connected to said they felt exactly the same with both the book and the film.