By Glenn Dunks
There comes a moment late into Ana Kokkinos’ latest adventure through suburban woe that features Frances O’Connor, and it will surely hit any viewer like a punch from Mike Tyson right in the gut. So visceral is the moment that it rattled me for quite some time after the credits had rolled and its effects may actually give the illusion that Kokkinos is responsible for having made a good movie.
She is not and she has not.
Coming back to ground it becomes obvious that it is the actors and only the actors that turned Blessed into the movie it is. Thanks to them the film doesn’t fall into a completely miserable heap like her past films Head On and Book of Revelation.
The scene with O’Connor is one that forces her character to confront the horrible actions that she has forced onto those around her and that proves an interesting theme. It’s one that Blessed explores thoroughly; what is the responsibility of both parent and child. Splitting the film into two halves – “The Children” and “The Mothers” – somewhat hampers the effort, since we don’t truly get enough of a chance to dig into these characters. That there are far too many characters further complicates matters. Characters that appear merely to pad the running time and the cast list whilst not allowing Kokkinos to hone in on the few truly interesting characters.
It is “The Mothers” part, the films second half, that proves more interesting. I feel bad saying it is so because of the more experienced actors, but it is somewhat true. I don’t want to be cruel about the child actors, and I won’t because many of them are fine, but the pros that have been doing this for years outshine them. It’s just a shame that we have too many plot strands – one involving an Aboriginal man who was adopted by a white mother is particularly superfluous and could have easily been excised – and so much remains uncovered about these complicated and troubled women.
Based on the stage play Who’s Afraid of the Working Class, I couldn’t help but ask, “Are these people really working class?” Maybe I am missing some sort of hidden meaning within the title, but this movie is filled with more dole bludging, welfare hoarders than anything else. In fact, the only major character that is seen actually working – Deborra-Lee Furness as a nurse – is given a storyline so far from the film’s attempt at socio-realism that it requires a double take. Kokkinos also has this strange desire to turn almost all minority characters into ugly, crazy villains. The gay characters, the Aboriginal character and the Greek mother are all given glaringly unattractive traits and I have no qualms in stating that Anastasia Baboussouras’ truant student is one of the most annoying characters ever portrayed in an Australian film.
As I already mentioned though, it really is the performances that save Blessed from being a typically turgid mess that it so threatens to become on multiple occasions. While O’Connor is superb in her big scene, she is not best in show. There are other moments where it appears like she is eating the set. Compare her to Tasma Walton, who she shares many scenes with and who is understated and warm, and you get the idea that the actors were allowed to go free, and only some stuck the landing. Miranda Otto has fine moments as the gambling addict mother of the wonderful Sophie Lowe, a smart aleck who is good at manipulation. Furness, too, has some tender moments while Reef Ireland and Harrison Gilbertson fare best out of the young cast.
For those who appreciate this sort of cinema, and Last Ride from earlier in the year is another example, I am sure they will find much to take from Blessed. Others, however, will probably find Kokkinos’ film too heavy-handed and straining for believability, but with moments of wonder thanks to a dedicated cast.
Blessed is released 10 September through Icon Films.
