Lantana

This is one of those rarities, a movie which walks the tightrope between being a perfect drama and an absorbing mystery and does it spectacularly well. The first hour is dedicated to establishing the various characters like the cop, his wife, the woman he is fooling around with, her estranged husband, the neighbors of the women etc. The interplay between the characters and the different situations are very fascinating. The second half is about the disappearance of one of the characters and how the others interact and react. The acting is brilliant with Anthony Lapaglia surprisingly getting a meatier role and performing much better than Geoffrey Rush. The screenplay is simply fantastic. It is a travesty that this was not nominated for any of the major awards. perhaps it being from Australia was a reason. This is a must watch movie for buffs who love their drama with a touch of intrigue. 4 out of 5. Very well made movie.

"Lantana" is one of those rare films which which transcends entertainment with meaningful messages, however subliminal, while avoiding the dumbing-down, flocking, hype, titillation, and other excesses of the usual Tinseltown product and relying solely on good story telling. The film uses the nonlinear Magnoia-esque jigsaw puzzle approach showing a piece of each player one at a time while methodically completing the final puzzle picture. Though the film involves a cop, a shrink, a missing woman, infidelity, adultery, grief, suspicion, etc., "Lantana" isn't about any of these things; a fact which is made clear in the end when the final puzzle piece is dropped into place. A must see for mature realists into serious drama.

Most successful Australian films are quintessentially Australian. From Walkabout in 1970 via Peter Weir's pictures such as Picnic at Hanging Rock; The Last Wave and Gallipoli, right up to releases around Lantana such as The Tracker; Dirty Deeds; Rabbit-Proof Fence; Aussie Rules; The Dish and the Steve Irwin vehicle, The Crocodile Hunter Collision Course. Their appeal is partly based on an exploration of Australian culture or rather a contrast of cultures either within Australia or with the rest of the world. Like much of British Cinema, Australian Cinema has taken refuge in nationhood.

Lantana is different. Although it is set in present day Sydney it could, with the exception of the film's metaphorical title, be set in any Western urban conurbation. The film does not depend on either supposed Aussie character traits or well-known locations. Postcard Sydney is eschewed in favour of suburbia and mid-town. It is also bold as, although it contains a crime detection story, the film is primarily about an interwoven set of relationships gone wrong. The police investigation does not begin until halfway through the film, and this allows the relationships to be explored in detail before the more conventional narrative begins.

Leon (Anthony LaPaglia) is a morose police detective whose marriage to Sonja (the excellent Kerry Armstrong) is failing. His brief affair with Jane (Rachael Blake) in the opening sequence, is a symptom not a cause. Sonja confides her worries of the affair to Dr. Somers (Barbara Hershey), whose own relationship is soured by suspicion and tragedy. The only solid relationship is that of Jane's neighbours, whose domestic circumstances are the most difficult. This background unfolds in the first half of the film and the individual relationships are then laid over the plot allowing both an intertwining and explanation. The strength of the film is that as the characters have already been well realised, so their actions and emotions can be understood in the second half of the film. This is territory often reserved to a good novel, and is rarely brought off in the cinema and it is so well done here that a couple of narrative co-incidences can be forgiven.

The lantana is a large native Australian flowering plant, whose attractive and benign appearance conceals a thorny interior. The shrub is cleverly threaded into the plot and serves as a reminder that in relationships, things might not be all they seem and that care is needed to prevent hurt. In keeping with the film's realistic style there are no feel-good resolutions but the emotional intensity carries it to an ending of some hope rather than desolation.

"Lantana" is a well-made film with good performances all-around and a fine script. It's nice seeing Anthony LaPaglia, a damn fine actor, using his native accent. I was really hoping to see more of Geoffrey Rush, since he's one of my favorite actors, but it's an ensemble effort and he puts more than his own two cents into the film. I can't say much about the movie, other than it was engrossing and kept my attention. However, the plot is not completely original. I've seen other movies about infidelity in different relationships, and the different characters interlocking through their infidelities (I think that's the plot of every Edward Burns' film). So I didn't feel as compelled by the film as I expected to be. But it's still, by no means, a bad film. And I'd recommend it to anyone in the mood for a well-acted character drama.

My score: 7 (out of 10)

This well-delivered ensemble piece is a film version of Andrew Bovell's play SPEAKING IN TONGUES. It deals with adult relationships, particularly the sexual tension and anxiety that eventually develops in mature relationships. The plot and interaction between characters depends heavily on coincidence, but this isn't a major flaw in a film that really concerns itself with adult behavior patterns. That aspect of the film is sophisticated and honest; well worth the viewer's time. Brooding, subtle and smart are the words for LANTANA and I highly recommend it.