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Christian has returned to his childhood home in Australia toattend the marriage of his father Henry (GeoffreyRush), wealthy mill owner and town bigwig, to his much youngerex-housekeeper ("Fringe"'s AnnaTorv). While home he reconnects with his high school buddy Oliver, meetsOliver's wife Charlotte (Miranda Otto),his father Walter (Sam Neill)who is an old associate of Henry's, and Oliver's lovely, bright, beloveddaughter Hedvig. Oliver has just been laid off as a result of Henry closing themill, but his home life is a happy one, and he knows that he is lucky. But asChristian's own personal life collapses, he divines a past transgression thatcould destroy Oliver's family and threatens to reveal it, sanctimoniously andself-deludingly preaching that Oliver "deserves to know" the truth.But, as you practically want to scream at the screen, Oliver is such a goodperson, so genuine and kind and loving, that he actually deserves not to know. The only thing that will besatisfied by the ruination of his equanimity in the name of honesty is thatlittle knot of malice that exists inside Christian. Misery loves company, andwill create it if necessary.
The performances are strong, with Odessa Young, who was thehigh watermark of Sue Brooks' Venice competitionfilm "Looking For Grace,"even better here as Hedvig, a teenager going through her own coming of age, butone still young enough to have a close, conspiratorial relationship with heradored dad. Ewen Leslie matches her as Oliver—he had played the role on stageand seems to inhabit it completely naturally. Otto, Neill, Rush and Torv allhave smaller, though still pivotal roles and all are compelling, with Rushespecially charismatic as the wealthy, chilly and perhaps ruthless Henry. Ifthere are stumbles at all they come in the rare histrionics that Schneider'sChristian has to negotiate, but then his character is so fundamentallywrong-headed in his actions, and selfish in his motivations that certainly bythe end, we can hardly even be meant to sympathize with him.
The performances are strong, with Odessa Young, who was thehigh watermark of Sue Brooks' Venice competitionfilm "Looking For Grace,"even better here as Hedvig, a teenager going through her own coming of age, butone still young enough to have a close, conspiratorial relationship with heradored dad. Ewen Leslie matches her as Oliver—he had played the role on stageand seems to inhabit it completely naturally. Otto, Neill, Rush and Torv allhave smaller, though still pivotal roles and all are compelling, with Rushespecially charismatic as the wealthy, chilly and perhaps ruthless Henry. Ifthere are stumbles at all they come in the rare histrionics that Schneider'sChristian has to negotiate, but then his character is so fundamentallywrong-headed in his actions, and selfish in his motivations that certainly bythe end, we can hardly even be meant to sympathize with him.
第三篇Variety
Film Review: ‘The Daughter’
AUGUST 30, 2015 09:51PM PT Eddie cockrell
Deeplyinvolving and emotionally searing, “The Daughter” reps a confident and profoundly movingbigscreen debut for established theater director Simon Stone. Those familiar with Henrik Ibsen’s play,which Stone freely adapted for the Sydneystage in 2011, will find its themes of the haunted past detonating in thepresent and the gulfs in class and gender fully intact. Yet Stone’s radicalretooling of the story details, characters and setting has yielded somethingurgent and new, and the low-key, naturalistic approach to his direction of afine cast — a rare tonal quality in contempo Australian drama — shouldensure busy international fest play and the rapt attention of distribsseeking quality fare.
In an unnamed, present-day logging town that hasseen better times, Henry Neilson (Geoffrey Rush), a well-to-do mill owner who’s aloof to the point ofarrogance, announces to his employees that the economy has forced him to close.Among their number is long-time laborer Oliver Finch (Ewen Leslie), agregarious and devoted type who assures his schoolteacher wife, Charlotte(Miranda Otto), and teenage daughter, Hedvig (Odessa Young), that everythingwill be OK. Oliver’s absent-minded father, Walter (Sam Neill), who used to bepartners with Henry and served jail time for an unspecified fiduciary breach,is unconcerned.
Meanwhile, in preparation for his marriage tomuch younger former housekeeper Anna (Anna Torv), Henry has summoned hisestranged son, Christian (Paul Schneider), fromAmericato serve as his best man.Currently on the wagon and separated from his wife, Christian regards hisfather with a smoldering resentment that gradually comes into focus as hereconnects with childhood chum Oliver and, in the process, learns thatCharlotte used to be in his father’s household employ (Christian’s mothercommitted suicide around this time). The inevitable revelation of along-suppressed family secret, and Christian’s fundamentally profoundmisunderstanding of it, lead to a cataclysmic shift in family dynamics,tempered by a faint ray of hope.
Film Review: ‘The Daughter’
AUGUST 30, 2015 09:51PM PT Eddie cockrell
Deeplyinvolving and emotionally searing, “The Daughter” reps a confident and profoundly movingbigscreen debut for established theater director Simon Stone. Those familiar with Henrik Ibsen’s play,which Stone freely adapted for the Sydneystage in 2011, will find its themes of the haunted past detonating in thepresent and the gulfs in class and gender fully intact. Yet Stone’s radicalretooling of the story details, characters and setting has yielded somethingurgent and new, and the low-key, naturalistic approach to his direction of afine cast — a rare tonal quality in contempo Australian drama — shouldensure busy international fest play and the rapt attention of distribsseeking quality fare.
In an unnamed, present-day logging town that hasseen better times, Henry Neilson (Geoffrey Rush), a well-to-do mill owner who’s aloof to the point ofarrogance, announces to his employees that the economy has forced him to close.Among their number is long-time laborer Oliver Finch (Ewen Leslie), agregarious and devoted type who assures his schoolteacher wife, Charlotte(Miranda Otto), and teenage daughter, Hedvig (Odessa Young), that everythingwill be OK. Oliver’s absent-minded father, Walter (Sam Neill), who used to bepartners with Henry and served jail time for an unspecified fiduciary breach,is unconcerned.
Meanwhile, in preparation for his marriage tomuch younger former housekeeper Anna (Anna Torv), Henry has summoned hisestranged son, Christian (Paul Schneider), fromAmericato serve as his best man.Currently on the wagon and separated from his wife, Christian regards hisfather with a smoldering resentment that gradually comes into focus as hereconnects with childhood chum Oliver and, in the process, learns thatCharlotte used to be in his father’s household employ (Christian’s mothercommitted suicide around this time). The inevitable revelation of along-suppressed family secret, and Christian’s fundamentally profoundmisunderstanding of it, lead to a cataclysmic shift in family dynamics,tempered by a faint ray of hope.
