Almas Gêmeas

I really liked this film. Like the overwhelming majority of people, I didn't know about the real crime behind the story of this film, where the friendship between two teenagers turns into a sexual and romantic obsession and leads the two young women to kill the mother of one of them, in hope that they can run away or stay together.

Directed by Peter Jackson, still a long way from dreaming that he would be as successful as "The Lord of the Rings", the film is excellent and does a great job in terms of recreating the events and psychology of the two central characters. Of course, according to what I've read, the facts are not entirely clear as to the nature of the relationship the two girls had, but it seems quite clear that, at the very least, there was a very strong obsession between them and a certain dissociation from reality. , through the creation of a fantasy alternative world that functioned as an escape. The film shows us this clearly and manages to maintain a certain ambiguity where it seems most necessary.

This was the debut film for young Kate Winslet and Melanie Lynksey. None of them seem exactly like newcomers or inexperienced in the cinematographic art, which can only be a revealing parameter of talent, and of the great qualities that both have revealed since then, most especially Winslet, who has dedicated more time to cinema and achieved a different level of recognition. In addition to them, we also have the excellent performances by Sarah Peirse, Clive Morrison and Diana Kent, in the role of three of the paternal figures.

Technically, the film doesn't have any major problems. The pace is ideal, there are no dead moments or situations that seem to be too much or to have been stilted, and the editing is very good and well executed. The cinematography is excellent, with great color and light, particularly in the fantasy scenes, where we enter the fantastic world that these young women created for themselves. The sets are good and, together with the costumes, recreate the period portrayed with verisimilitude. The filming locations are magnificent, very well selected and used. The soundtrack is equally good.

Lesbian murderers ? I'm sort of guessing that I might not like this movie very much . No doubt we'll be seeing some polemical do gooder film maker with zero talent making a movie where anyone who gets murdered by the gay girls probably asked for it because they were a rabid homophobe

That was my abstract opinion of HEAVENLY CREATURES when it was released to some critical acclaim ten years ago , with much of the acclaim going to writer/director Peter Jackson whose previous gory horror comedies I'd enjoyed . Yeah the guy was talented I remember thinking , but in a liberal climate we'd no doubt be hearing a myriad of excuses via the film for the girls crime and it was this attitude that stopped me from watching the movie until it was broadcast on BBC 2 tonight

I was fooling myself if I thought Jackson was going to make a bad movie . This is another piece of heart melting , intelligent movie making from the Kiwi genius and I'm sorry for doubting Jackson for a moment . What Jackson has done has made a movie where it's difficult to think of the two protagonists as " lesbian lovers " , Pauline Reiper and Juliet Hulme are two teenagers who love each other full stop and the screenplay doesn't once make any excuses for anything that happens , we're not supposed to feel disgusted by their relationship , we're not supposed to feel that they are victims in any way and we're not supposed to feel that a conservative , homophobic society is to blame for what happened . Jackson deserves much credit for making an amoral movie without an agenda , it's up to the free thinking audience to make up their own minds on the case. Take for example the murder of Mrs Rieper who kindly takes the girls to a tea house then for a walk in the countryside . It's difficult not to notice that if she'd been an uncaring cruel dragon with absolutely no conscience the girls wouldn't have had an opportunity to murder the woman .

It's also a movie that captures the spirit of being a teenager in love . When for whatever reason you have to say goodbye to your first love it's the end of the world . You'll do anything to stop it happening - ANYTHING - and you won't forgive anyone who caused it to happen . Fantasy sequences similar to the ones shown here are also a staple diet of the teenage mind and if you disagree with me you're either being dishonest or you're under twelve years of age . Believe me this movie reminded me , perhaps a little too much , of my own teenage angst

Jackson also deserves credit for his casting Melanie Lynskey and ( A then totally unknown ) Kate Winslet as Pauline and Juliet . Neither of them can be described as strikingly attractive and you do have to worry who we would have got instead if this was a Hollywood production , but they play the star crossed lovers with absolute conviction , as indeed do the rest of the cast

HEAVENLY CREATURES is beautiful , haunting , thoughtful and incisive . With the exception of Martin Scorsese I rate Peter Jackson as the world's greatest living film maker and HEAVENLY CREATURES is the first movie that showed the true greatness Jackson is capable of

Perhaps the premier concern of modern filmmakers is locating somewhere in the film exactly where the film-making process is. This is often incorrectly called irony, self-reference or the odd construction of reflexivity. I call it 'folding' and it seems to be everywhere and often in rich and engaging forms. Moreover, it seem to be a central concern of the Australian performing arts community. I imagine it can be traced back to a single person in the seventies on Bennelong Point.

So much of what we have gotten from this tradition has enriched us all, not the least of which are the actresses who master folded acting. That's where we get a portrayal of a character and another simultaneous portrayal of an actor portraying that character. Sometimes the 'character' in these two portrayals isn't quite the same. Three mainstream film actresses today can do this. Two are Australian, and one is Kate.

This is her first film, and it is no surprise at all that the filmmaker has chosen to build a structure that is a representation and is about representation. The original, true story is about two girls, enwrapped in mutual fantasy, probably enhanced by the flush of sex, whose fantastic adventures get out of hand. From this, Jackson reshapes it all. It is now a film about films. Now the girls' fantasy world is a Camelot driven by forces in film. They write. They sculpt characters, based on film characters. Those film characters come 'alive' and form a world in which the girls live in parallel with the real world. So far so good.

But Jackson goes further. Some of the film prototypes are simple characters: Mario Lanza-like. Simple glamour with no pretense or irony. But there is the amazing Orson Welles also. Orson is not pretty, he is not direct, he is a folded prototype himself. The two worlds conflict, and that conflict is reflected in each world. In the Borovnian ('borrow'-nian) world, this is a conflict between two clay figures: the Welles and the Lanza, the winner getting to bed and impregnate both princesses. In the 'real' world, the conflict carries over to the two houses, and even within Juliet's house between the bookish metaphysical father and the sexy 'psychologist- but touchy-feely' mother.

Welles was the one who reinvented the ordinary flat world of film into a melange of folding techniques. The film world since the late forties has been a combination of struggles and syntheses between the forth world of Welles and the simple dramatic stage of Griffith.

Even the very young Kate surfs and exploits these levels with aplomb. Even as a teenager she gives us messages from each of these folds - not at precisely the same time as Julianne would later, but strongly nonetheless.

Ted's Evaluation -- 3 of 4: Worth watching.

Heavenly Creatures, based on a true story, is written, directed and produced by Peter Jackson of Lord of the Rings fame. This film captivates, catching you off guard.

Jackson sets the audience up in the beginning by focusing on the tranquil, predictable world of 1950s Christchurch, New Zealand. Before long, the peaceful world is exposed for what it is, repressed.

Two teenage girls, Juliet and Pauline, befriend each other at a private girl's school. They find out they have a lot in common. Sharing a world of fantasy and make believe, leads to an insane reversal. Their fantasy world becomes their reality.

Once they cross that line, their otherwise superficial, conventional world is turned upside down. All the repressed dysfunction surfaces. Ironically, Juliet's mother is a psychotherapist who doesn't see her daughter's neurosis becoming a psychosis. Eventually, Pauline and Juliet go off the deep end, drowning in their make believe world. By the end of the film, they do the unthinkable.

Kate Winslet is superb as Juliet. The rest of the cast is outstanding. Peter Jackson does a masterful job of capturing the essence of 1950s religious repression in New Zealand. It could be England or American in the 1950s. Heavenly Creatures will appeal to anyone who enjoys psychological twists and turns.

In 1952 Christchurch, New Zealand, 14-year-old Pauline Yvonne Parker (Melanie Lynskey) is a bitter introverted student from an all-girls school. Juliet Marion Hulme (Kate Winslet) is the flamboyant new girl from England. Pauline forms a friendship with Juliet obsessed with their imaginary Fourth World. Juliet's parents abandon her in the hospital with TB. Pauline's mother becomes concerned about her rebellious turn and the girls' possible homosexuality.

These are two amazing performances. Lynskey is a wonderful weird introvert. The girls bring out the desperation of puberty coming-of-age. Director Peter Jackson brings out an interesting imaginary world. The movie brings out an early sign of wonder things to come.