No. 2

There are films and there are films with a soul. No. 2 is a film with a big soul and needs no special effects no big budgets or big names to be a big little film.

It takes the time that is necessary to tell a story so unusual in nowadays cinematic landscape, a story that makes the audience feel and touches the souls of those who are willing to listen to it.

There are wonderful performances of several actors to observe and No.2 shows how a wonderful script has no need for a big budget. It's not a tearjerker or going for the easy laughs, it's not a black and white movie but shows the shades of grey that make life life.

I laughed, frowned, had tears in my eyes, cringed, smiled and felt touched so many times.

It is one of these films that can be distinguished from the majority of films by its ability to make you feel and that somehow cause your whole being to be uplifted by the time you leave the cinema.

It's one of the films that linger and hold the audience so captive that only after the credits have been rolling for quite a while, the first people start to reluctantly file out of the theatre.

A different culture than mine, this was an eye-opener. Tradition counts, feelings do, death is a departing and part and parcel of everything. And so everything turns into a big celebration and tying together feast including pig, trees, foreigners, music and naturally mishaps and power struggles. Features the epic "Bathe In The River", a very moving song by amazing New Zealand musician Hollie Smith and the Mt Raskill local people choir. This film forms an important link in New Zealand film lineage as it is one that portrays a very important happening in an 'island' family living in Auckland's 'wild' west suburbs. We get to experience a largely different and unknown culture right in the middle of a 'normal' suburb. This is Auckland, the city with the world's largest Polynesian population.

This is a great film portraying human interaction and how families interact.

However, for a film that is supposed to portray a Fijian family, what a pity there was only one Fijian (the Priest) in the cast. The others were mainly a reasonably talented group of Maori and other South Pacific Island actors.

Why could the producers not have found Fijian actors to make the film more authentic?

That the film was produced more or less on our own doorstep (and we had not even heard of it before it was seen in "Shorts") and showed our own well-known and familiar locality added additional colour and interest to our viewing. But of course, a film is always "local" to those who live where it is filmed.

I've seen recent reviews of lacking a firm storyline - however I beg to differ. I really liked this film because it was so simplistic to understand, but yet portraying strong themes of a foreign/traditional family living in New Zealand. Additionally, the family as depicted in the film can be seen as being dysfunctional, this factor can reinforce our understanding of the film if one has been exposed to such kind of a family. Anyhow, I must praise the performances of the actors/actresses and in particular Ruby Dee - for instance, when I first viewed the film I though the Dee was a Fijian actress! It came to great shock when I discovered that she was in fact American! In conclusion, I would like to say that I very much enjoyed this little film, it is funny, touching and passionate. If anyone has the chance to watch this film, then DO IT! It isn't to be missed! Out

A rough gem but a gem nonetheless. Slow going at first, as you wonder what it is with these people. Is there any hope? Has this extended family (apparently) totally lost their way in life? Then as you learn bits of the family history, the high walls and broken bridges separating the family start making sense, and you can see possibilities of reconciliation.

Ruby Dee plays (magnificently) the Polynesian matriarch, living in Mt. Roskill, Auckland NZ, for most her life, who knows what's wrong with her scattered cantankerous family and can see the one path that just might set things right -- a little "tough love", Polynesian style. Even though no one else can see the sense in it, they obediently carry out her demand for a family feast in the backyard, to happen that same evening, at which she will announce her successor. All must attend, even those who never come round.

Preparation for the improbable feast involves everyone, and in the process forces communication that's been avoided for years. But they pull it off, because after all, Mama may have lost her marbles but she is still the matriarch. The result is memorable, and validates her foresight.

The film is also, by the way, a great glimpse of suburban New Zealand life, Samoan (or Tongan, not sure) style. See it just for that, and enjoy the story too.