The Dressmaker

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.

This movie is like a patchwork, little by little you get the whole picture, a really fine piece of work, Kate Winslet is great, Judy Davis simply brilliant, not to mention Hugo Weaving's performance, outstanding, I enjoyed every minute, never underestimate a woman, revenge is a dish best served cold, well in this particular case, sewed, you don't get it at the beginning, why is she dressed like this and what is she doing in such a forsaken place, not wanted at all, starting by her mother, than the battle begins, with a sewing machine (a Singer), determination and a lot of talent, a few golf club's, and the whole place is headlong, word for word, fasten your seat belt, this is going to be one kind of a ride

It is exactly the film changing perspectives. A great story. A brilliant cast. The revenge , the love, the fake sin. And a place of Australia. Not the last - Kate Winslet and Judi Davies giving something who could be defined as more than splendid performances. Bitter humor and admirable cinematography. And exactly the film who you deserve. Because the characters and the situations are more than familiar . From literature. And, maybe, from near reality. Short, a gem. It is not the most inspired word but it is a small definition of a magnificent work.

This movie was a great surprise. I figured it would be just a feel good "cute" romcom. Boy was I wrong. Yes it had the RomCom moments, but it had a very deep dark underlying river of a very good story. The ever Stunning Kate Winslet was top of her game in this film. She was stunning, beautiful, witty, charming, and just plain Bad ass. She worked it like no ones business. Her character was coming back for not only revenge but for peace in her own skin. Perfectly casted and perfectly executed. Liam Helmsworth....just plain delicious. Best of all was the ever FAB-U-LOUS Hugo Weaving back in the skirt again. He is just perfect in this film. With a taste of Priscilla Queen of the Desert it just doesn't get any better than Hugo. I see how this movie received standing ovations at film awards. It's worthy of it and more. Brilliant.

'The Dressmaker' is not the type of film that instantly attracts me to the cinema. It's the wrong genre, (although this movie is difficult to place) the wrong story and it creates the wrong type of atmosphere. Leave this to the women and go and see something a little more.......you. How wrong I was and how glad I am to have jumped out of my comfort zone. It was a good excuse to take my good old mum and treat her to a midday-midweek viewing and some company with her first born or that is what I told myself when I entered the theatre only to find it filled with women and retirees excited to be out and about without the frightening hording masses that congregate on weekends.

'The Dressmaker' has been dubbed as the long awaited return of Director Jocelyn Moorhouse to the chair since 1997 and she has delivered a film that will be remembered for some outstanding performances from Judy Davis, Hugo Weaving and Kate Winslet. I agree with the statement that this film doesn't fit into any particular mold but this peculiar inconsistency is what keeps the audience fixated on the screen. Just when you think that the story is heading down a certain path it quickly turns sideways, takes a detour before arriving at its intended destination. Some viewers may find this lack of direction annoying and even film destroying but I think this could be a little over dramatic.

'The Dressmaker' holds a certain charm that never leaves it as it sways back and forth from one type of genre to the next. It can be billed as a 'black comedy' but it does allow the audience to experience an array of emotions. At times you will be laughing at the antics on screen and at other times you will be gripped by the drama unfolding.

Based on the novel of the same name by Rosalie Ham, 'The Dressmaker' centres around Myrtle 'Tilly' Dunnage (Kate Winslet) and her chaotic return to a small Australian country town in rural Victoria in 1951. Tilly's tumultuous departure years before were under controversial circumstances and the small rural community have not forgotten. She is everything the town isn't - sophisticated, stylish, experienced and worldly and she has come back for one reason......to reek havoc on those that callously betrayed her all those years ago.

Kate Winslet rarely puts in a bad showing and her turn as Tilly Dunnage is made even more exceptional with a flawless Australian accent. The audience will forget that she is English as she seamlessly slides into the fabric of her surroundings, not once slipping up when delivering her dialogue. Judy Davis is the star of the show as Tilly's mad mother, Molly Dunnage. Davis effortlessly steals every scene she is in with outstanding engagement with a character that is a little bit off centre. Judy will be recognised for this performance with an AACTA and it will be thoroughly deserved.

Hugo Weaving adds his superb presence as the cross dressing cop, Sergeant Farrat. His character grows on the audience with eccentric colourful manner, bringing the best out in Weaving that gives this wonderful film an extra element of charm. Liam Hemsworth provides the eye candy for the ladies in a solid role as Teddy McSwiney. Both Davis and Winslet are caught hot under the collar on numerous occasions. He is the stereo-typical tall, blue-eyed, rugged country boy who is the proverbial apple in his mother's eye and does exactly what Moorhouse hired him to do......stand there and look pretty. Good onya Liam.

Joining the familiar talent is a who's who of Australian television that many international audiences won't recognise but they do give the film a more authentic Aussie flavour. Could this be the breakout role for Sarah Snook? Her character Gertrude Pratt is totally transformed by Tilly Dunnage only to treat the outsider with disdain when 'theories' are whispered throughout the town.

I cannot see any reason why this film won't be enjoyed by the masses. It is Australian and its dry wit may not appeal to foreign markets which is a shame. The narrative is all over the place but don't let this put you off. Dig a little deeper and you will be rewarded with some brilliant performances.