Three Summers

Some of us were lucky enough to grow up with 'The Young Ones' and 'The Man from Auntie' not to mention some really entertaining novels from Mr Elton; this film from him was entertaining, sweet and made me cry (just a bit- nothing weird). The cast is fabulous and it kind of reminded me of 'The Dish' in tone. On the i-player at the moment- definitely worth a watch.

Surprisingly great little film, during lockdown have missed live music even local festivals and this filled that void

Sometimes you watch a movie because you like the trailer, and then it leaves you underwhelmed and disappointed, because the only good bits were in that trailer. With 'Three Summers', it's quite the opposite. The trailer didn't tempt me at all, and I didn't intend to watch it. I accidentally left the TV on, whilst I was doing some chores, and by coincidence, when I re-entered the room, I happened to see a scene that made me laugh out loud. So I decided to give it a chance anyway, and started to watch from the beginning. I'm glad I did, because it's a delightful little gem of a film.

It's not pretentious or high-brow, but it's sharp and witty. It effectively takes the mickey out of identity culture, activists, boring middle aged couples who do exactly the same thing every year, posh music-snobs, security guards, feminists and yobs. At the same time it lovingly depicts families with teenagers noticeably growing up over three years time, whilst the adults are doing a bit of growing of their own. We learn a bit about Aboriginals, colonialism, the big child migration from the UK to Australia, and the inevitable modern day refugee crisis. Nothing new there, necessarily, but it does so in a very organic way that is lighthearted and yet poignant. It's brought back to the level of individual people, and that's always good if you want to understand one another a little better. It is a bit of a feelgood movie, but in the best possible way. And it's truly funny on so many different levels.

If you're looking for something to cheer you up, this might just hit the spot.

Robert Sheehan is such a talent (Misfits) (The Umbrella Academy) as are the well know Aussie actors in this charming movie. A Ben Elton story and movie beautifully capturing different aspects of Australian culture. Be it quite cringe worthy at times. I hope our American friends "get it". Just sit back and enjoy the story.

It is absurd that any filmmaker would try to snapshot an entire nation in one movie, but Three Summers (2017) comes very close to doing just that. Almost every social and political issue that is near and dear to the Australian heart is brought together in one big tent full of ethical potpourri with lashings of larrikin humour and subversive irreverence. What's not to enjoy?

The structural frame that holds the film together is both elegant and contrived. Multiple story lines are interleaved across three successive years of 'Westival', a fictional country music festival in Western Australia. There is no plot line as such: it's more a montage of stand-up gags and music intended to reflect our changing social values over time, warts and all. Narrative continuity comes from following the romance between pretentious theremin player Roland (Robert Sheehan) and down-to-earth pub band fiddler Keevy (Rebecca Breeds). We meet a cross section of Aussie caricatures: festival radio announcer Queenie (Magda Szubanski) who doubles as narrator; a racist bigot (Michael Caton); an alcoholic father (John Waters); recidivist caravan dwellers; a cast of Indigenous and migrant identities; and a stone-faced security guard (Kate Box) who keeps stealing her scenes. Between them, they skip all too lightly across issues of race, class, colonialism, refugees, sexuality, musical culture, and national history.

Few of these issues are inherently funny or lightweight and if the gags were read from script they would struggle to get a chuckle. But timing is everything and in the hands of this ensemble it is all great fun. The actors play to stereotype rather than well-developed characters, except for Rebecca Breeds whose role traverses a wide emotional terrain. The warm spot is the romance between Roland and Keevy, which is as rocky sweet as their music is brilliant. The filming is exuberantly colourful and lively, lifted by a score full of festival joy drawn from a variety of musical genres. The quirky humour works on visual irony, such as when Michael Caton ridicules Indigenous dancers because of their native adornments while he himself wears a comical Morris dancing costume. Amidst the self-deprecating sendups of real life there are many issues that prick our national conscience, such as our unresolved relationship to the Indigenous owners of the land we invaded and our treatment of refugees. It is implausible, however, to suggest that the three-festival timeframe is enough to see substantial changes in attitudes; die-hard racists do not become exemplars of inclusion that fast.

Whatever faults one can find, none detract from the film's enjoyment for both Aussies and overseas audiences wanting to know us better. Good-natured and big-hearted gags are entertaining, but the film's bigger purpose is hidden inside the squirm-in-your-seat humour that holds up a mirror to the dark side of the Australian character.