Okay, look - from the very start this is simply a delight. Miranda Otto, and young Katy Edwards, bring new meaning to the term "horse girl," and it's pure joy to watch them adopt equine mannerisms, and otherwise just throw themselves about (literally and figuratively) with all the energy they can muster. There's an unflinchingly wacky sensibility about the picture from the very start, a farcical quality that carries through even to the quieter moments, that the cinema of other countries struggles to achieve as consistently as Australia; it's hard as a viewer not to be charmed from the outset. Characters, dialogue, scenes, and the story at large are altogether wild, stirring together male strippers, animal telepathy, bodily fluids, and of course two people from very different backgrounds; by all rights this should be obnoxiously raunchy, yet the concatenation is so outlandish that Saturday Rosenberg's screenplay instead comes off as cheekily clever. And as every actor on hand is clearly having a blast, and the crew behind the scenes just lean into that zany aura - well, what can I say except that 'The girl who came late,' also known as 'Daydream believer,' is a lot of fun?
There are times when the film threatens to be just too silly or sentimental for its own good, invoking ham-handedness, but to the credit of Rosenberg, director Kathy Mueller, and all others involved, it then recovers nicely with earnest heart, fabulous wit, or both. I sincerely appreciate the work of editor Robert Gibson, cinematographer Andrew Lesnie, and the sound department, who at varying points all contribute very specifically to the comedy being crafted; the sound editing is so sharp that I honestly can't tell if Otto or Edwards are actually vocalizing like a horse, or if it's a sound effect added in post. Production designer Robert Ford, art director Laurie Faen, and location manager Phillip Roope all let their imaginations run free with the look and feel of the feature, and much the same can be said for the hair and makeup artists and costume designer. Meanwhile, Todd Hunter and Johanna Pigott's original music is wonderfully playful, always finding just the right chords and tone to sustain the goofiness. And while Otto and Edwards certainly take the cake with their centered performances, their costars are just as swell - particularly Martin Kemp, himself just splendid in embracing the tomfoolery just as surely with fabulous candor.
Sure, the overall thrust of the plot is familiar, and in the broad strokes kind of standard for romantic comedies. Yet I can't emphasize strongly enough that this boasts far-fetched flavors that rather exceed what we expect from most such fare, and not least from Otto, whose moment of utmost renown is a far cry from this. It may not achieve absolute vibrancy at any point, yet it's unremittingly fun all the way through, and more balanced than many of its kin could surely claim. Ultimately 'The girl who came late' may not be wholly essential for anyone except fans of the cast, but it's solidly entertaining, and that's something that can't be said for every picture, rom-com or otherwise. If you have the chance to watch, this is pretty great!
