Opiniones de usuarios

I don't agree with the other persons post, he/she is entitled to their opinion but i fell in love with this film. I adore Australian cinema and have always sort out the golden gems through the years since i was a teenager. This film came out at a time when i needed it! Lilian as the older woman portrayed struggles to cope with being out of hospital after a long period. Suffering from mental illness myself i identified with the feelings of isolation and depression portrayed. The flashbacks worked for me as i could connect with her as to why she may have ended up so scared and alone. I recommend this film if u want to see Toni Collettes earlier work and it is one of Ruth Cracknells final films and the haunting lines she utters still ring now! Not a masterpiece but a fine Australian production.

This film somehow feels it's based on a character's real story, but surprisingly it isn't. After 40 years of incarceration in a warm mental establishment, our larger than life Lillian (the always brilliant Cracknell) is finally free. Such an inspiration, our Lillian, as she really loves and treasures life, from stalking a bank teller, befriending a fetching young prostitute, and doing it with a rumpled bearded cab driver on open park grounds, plus delivering the baby of an escaped young patient/friend, our Lillian really does get into mischief. What's sad is the wrongness placed on Lillian still carrying a 40 year plus secret, involving incestuous and violent abuse, when a teen. Otto plays two roles, father and brother, and are good contrasting performances. This is a 94 minute drama, quite grueling, and Lillian's antics really tire us out. The real message here is, about not taking life for granted, living it to the full, but also having the courage to stand up and confess wrongs done to you, as in Otto's atrocities. Flaus is a standout as the cab driver, while too in a a really surprising cameo appearance, 'A YOUNG DOCTORS' face. Like Lillian, I feel too this movie has been misjudged and underrepresented by critics alike.

While I haven't read the novel (which by all accounts is quite good), there is little good to be said of this film. I'm not sure if it was the incoherent flash backs, or the real "Aussie" acting, that most had me reaching for the remote control.

So, unless you are a big Ruth Cracknell fan and can stand the tedium this film has to offer, it is, unfortunately, best forgotten.

This is a fictional account of the life of a famous Sydney street character, Bea Miles, in the middle of the last century who recited Shakespeare for the edification of passers by. This film may have disappointed those who enjoyed Kate Grenville's novel and feel the casting inappropriate, and for that reason I have reservations about watching The Beach or Captain Corelli's Mandolin where the main lead seems so unlikely. However, a film can still be enjoyed and have value for being an interpretation of an original idea, especially when such fine actors are involved.

Ruth Cracknell is outstanding as the older Lilian and the rest of the cast is superb, with Toni Collette (Muriel's Wedding) increasing her dramatic range. Lilian's mother is perfectly portrayed by Anne Louise Lambert (Picnic at Hanging Rock) as a subdued beauty, reduced to timing ferries, with all the spirit of a bird of paradise crushed out of her by a monstrous husband. The mother is, unsurprisingly, unable to help her daughter, and offers the grossly inadequate reply of `its simple really, there are changes' in response to her daughter's concern about entering womanhood. Lilian and her brother are eventually deserted by their mother who entrusts their well being and sanity to the tender hands of the brute of a father.

Barry Otto (Strictly Ballroom) portrays an educated father and husband of the cruelest kind who seems hell bent on repressing all spirit in those around him, offering the encouraging words to his daughter of `you're unstable Lilian' in response to her dreams of going to university and becoming a doctor or scientist. With this kind of care children either learn to respond in kind, or destroy themselves, perpetuating the misery for every one who comes into contact with them.

Inevitably some unfavourable comparisons have been made with Shine as Lilian's Story was developed at the same time, however it tackles the difficult issues of physical and mental abuse from the feminine perspective and has important messages to impart. This film is certainly more harrowing than the 1970 English classic ‘Spring and Port Wine' which also deals with a domineering father and husband.

The story is told in flashbacks after Lilian is released from a mental institution after 40 years of incarceration by her father for being too wild. The power of human endeavour in overcoming adversity is demonstrated as Lilian finds a new life entertaining and helping people on the streets of Sydney, through the love for `her William'.

The strengths of this film lie in its talented cast, its refreshing Australianism and decidedly un-Hollywood influenced approach. There are good characterisations and some nice symbolic touches such as the fridge weeping onto the kitchen floor as Lilian recalls her mother and the cruelty of her father.

VHS copies can be obtained from ScreenSound Australia as I found difficulty in tracking this film down in the UK although it was distributed by Video Networks UK.

Kate Grenville's novel Lilian's Story is an Australian masterpiece. The film had the potential to be brilliant, with the talents of Ruth Cracknell and Barry Otto, but instead of portraying the story of Lilian's life, an overly pretentious director turned a potential masterpiece into a vague montage-like kaleidoscope of confusing images that rendered the whole story incoherent. I was deeply disappointed, and refused to waste any more of my life watching this rubbish after it failed to deliver anything resembling the book (except one image, that of Lilian's mother timing the ferries)half an hour into the film. Incidentally, the character of Lillian is meant to be really plump as a child and later as a woman.......if the main character doesn't even resemble a novel's description, what chance does the film have? You might just as well cast Tori Spelling to play the Queen Mother...or even worse, Mick Jagger as Ned Kelly :)