Beautiful Kate (2009)

Excellent, smart action film.

The performances transcend the film's tropes, grounding it in characters that feel more complete than this subgenre often produces.

While it doesn't offer any answers, it both thrills and makes you think.

The movie's neither hopeful in contrived ways, nor hopeless in different contrived ways. Somehow it manages to be wonderful

Rachel Ward directs her husband, Bryan Brown, as a cantankerous man who is dying without any regrets. Bruce's(Brown) son, Ned and his finance, Toni, visit to say goodbye to him. His sister Sally also lives there. He keeps a journal detailing an incestuous relationship with a twin sister, Kate, who has died mysteriously. A flashback shows his sister seducing him when they were both drunk and the sexual encounter filling him with guilt. Kate has no regrets and demands a repeat performance which Ned turns down. She turns their other brother, Cliff against him by lying, and saying that Ned attacked her. Bruce forces Ned to take Kate to a Christmas dance. He leaves her, and later finds her dead as the result of a car accident. That same night, he finds his brother Cliff hanging in a barn; this is not the Waltons; goodnight John Boy. More family secrets are revealed and even with some fine acting from everyone involved, Beautiful Kate is a depressing downer.

I found this film started out as an "Australiana-ploitation" however, once through the awkward opening 10 minutes, opened up into a fascinating yet challenging film. The production values are amazing, especially the cinematography, editing and score (Tex Perkins Et el).Ben Mendelson and Brian Brown are excellent as the bitter and twisted Son/Father. The film reveals itself through a series of memory flashbacks juxtaposed against the present day and works really well.The film will challenge you and may repulse viewers to the point of disengaging from the film. Doing this would really be a disservice, as untimely it subtly deals with the secrets and lies around dysfunctional family units with themes of denial, guilt and absolution.Like any great film, you'll be thinking about this one long after the credits role. Recommended, especially for lovers of raw Australian cinema.

After a long time away, Ned along with his new girlfriend goes to visit his sister and their ailing father. There, we discover all the things that haunt Ned to this day.For her first try as a full feature director, Rachel Ward didn't take the easy road. Beautiful Kate is a drama that tackles sensitive issues. Not only that, it was also Ward's first screenplay and a novel adaptation can be quite a challenge.The film has several elements going for it. The scenery is nice. The acting ranges from good to great. Several scenes are beautifully shot. Ward also doesn't hold anything back when it comes to capturing all this sexuality. You sense the lust that Ned feels but also that things are terribly wrong.Unfortunately, this is a character drama and I didn't feel Ward developed the characters adequately. We spend an awful lot of time at first exploring the relationship between the central character, Ned (Ben Mendelsohn), and his young girlfriend, Toni (Maeve Dermody). Dermody is quite electrifying in this role and her character is probably the most interesting. As they arrive, we quickly sense the relationship between Ned and his father (Bryan Brown) is strained. The family dynamic of father, son and sister (Rachel Griffiths) is explored but once again, it seems it is the peripheral character of Toni who grabs the attention. This may be in part due to Dermody's magnetism or the restraint needed by the other actors (their characters being more quiet) but part of the fault falls on Rachel Ward's direction and screenplay. For instance, a scene between Tori and Ned's father (when he falls from his wheelchair) lasts a full three minutes but brings very little to the actual story. What doesn't help is that after 50 minutes or so, Tori abruptly disappears from the story, leaving us with very little in the way of interesting dynamics. Another important flaw were the flashback scenes. In order to fully understand the issues and demons of our characters (particularly Ned), we are presented with several short flashback scenes from his youth along with his family. Those flashbacks introduce several new characters important to the film (including the title character of Kate) as well as the younger Ned. The only actor appearing in past and present is the father, Bryan Brown playing both versions. Unfortunately, the cast in the flashback scenes is considerably weaker. The scenes are terribly short, lack context and with young, unconvincing actors, they just do not strengthen the film. The flashbacks are supposed to act as revelation devices helping us understand the (well acted) pain, suffering and demons of the present but they fail. Since there's very few interaction between Ned, Sally and the father, we're left with a somewhat poor movie despite the good acting, somewhat interesting cinematography and haunting music score. When the movie ends, your intellect tells you there is a climax there but it is difficult to care when the characters were not given proper care and you're still missing Toni, who left half way during the film. Adapting a book can be quite a challenge. I do believe Rachel Ward shows promise as a director but perhaps she chewed a little too much here. I will gladly watch another movie directed by her and hope she learns from his one. A courageous attempt, but didn't quite work for me.

Director/screenwriter, Rachel Ward has created a very moving experience in Beautiful Kate. It's a story of a dysfunctional bush family, set in the dry but magnificent country around South Australia's Flinders Ranges. Ward's husband Bryan Brown doubles as producer and actor.The death of his wife left Bruce Kendall to bring up their young children, two boys and two girls. His macho, tough approach to parenting brought nothing but disaster. A explosive mixture of adolescent sexual awakening and outback isolation was compounded by his choice of home schooling through School of the Air. The young twins Ned (Scott O'Donnell)and Kate (Sophie Lowe) were especially close.When Bruce is dying, forty-year-old Ned (Ben Mendelsohn) returns to their property with his feisty girlfriend Toni (Maeve Dermody). Writer Ned starts to record his memories as a way of burying his ghosts or closet skeletons. When his sister leaves him as carer for several days, all the old wounds are reopened. The film is a journey towards the ubiquitous closure cliché. Bruce and Ned would find much more colourful synonyms for an ending, happy or otherwise.This is a remarkably talented cast. Brown gives one of his most convincing performances and Mendelsohn impresses throughout. Rachel Griffiths as youngest sibling Sally is rock solid. Lowe does a fine job steering clear of the potential overkill inherent in her very difficult role. Dermody's scenes with Brown leave us with the certainty that there is much more depth to her character than we meet on the surface. Scott O'Donnell is a capable actor though he lacks the cheekiness and charisma of either the young or mature Mendelsohn.The father/son confrontations are classics. Wall-flies would no doubt have enjoyed the rehearsals and off-screen banter. Rachel brings out the best and worst in both of them.Kate is a well paced and structured narrative using unfolding flashbacks very effectively. Despite its themes, it is not a dark or brooding film of the kind that has been criticised lately. At one stage the older Ned cries out, "I'm still here!" in despair. As he drives back to the big smoke, these words herald a new opening.Her feature film debut as director is a triumph for Rachel Ward.Cinema Takes http://cinematakes.blogspot.com/