Three Blind Mice

There's a certain sub genre of film drama that sits somewhere between the conventional scripted narrative and an observational documentary. A sort of flirtatious experiment with layers of realism, hand held cameras and a very loose approach to what feels like a lot of semi improvised dialogue.

The question inevitably, on everyone's mind, "does it work or does it collapse under its own alternative cleverness?"

Scenes play out in almost teal time and dialogue flows, stops, does a few twists and turns as it tends to in real conversations between people, not in the short hand of movie dialogue.

The question inevitably, on everyone's mind, "does it work or does it collapse under its own alternative cleverness?"

We meet three young seaman on the town for a spree without a single sighting of Gene Kelly - it's the classic set up of one last night of innocence and shenanigans before being shipped off to a war zone in the cold light of day.

Director / Writer / Actor, Matthew Newton in a trifecta of effort plays high spirited and repeatedly reckless Harry; Toby Schmitz as the contemplative and responsible Dean; and Ewen Leslie as the somewhat lost lamb Sam.

In the confines of a rather bland hotel room, in semi whispers, Dean and Harry are treading on egg shells concerning something that has happened to Sam... and the teasing out of what it is and why it has happened is beautifully infused into the developing story line.

Now, the extent of naturalistic, real time conversation isn't everyone's cup of tea... a five minute exchange between two characters takes five minutes to play out... and by TV soap opera standards, with their 90 second scenes, this will feel as slow as molasses in January, but it has a function - the protracted time scale allows the actors to really inhabit their character and for us, as an audience, to absorb nuances that otherwise would slip by unnoticed when playing a scene in some contrived short hand.

That said, there are some scenes that might have fared better with some heavy handed pruning at the film editing stage. In particular a card game featuring Newton, Schmitz, Alex Dimitrades, Marcus Graham and Clayton Watson.

While the actors I'm sure were having a wonderful time reaching to the very core of their "he man" bravado, it goes on so long that it starts to feel like an acting improvisation class rather than an integral part of the developing problems for our heroes. I'm not saying it has NO function, but in terms of screen time compared to the payload it delivers, it feels rather disproportionate...

In another sequence, Barry Otto and Heather Mitchell as Dean's prospective in-laws, play out a painful bickering, drunken aversion of all the reality about them -- Again, fascinating character stuff but ultimately, like the card game, is it helping to drive the plot and impact our main characters?

So filming is over. It's eight weeks later, here we are in the editing room and it's time to look at what's in front of us, objectively, and ask that very important question, repeatedly... "Would the audience miss that moment or that moment, if the scene was half the length? Would cutting it down that much actually make the intent of the scene more concentrated and effective in communicating it's intention? More isn't always more... discuss.

While there are those somewhat bloated legatos scenes, there are also tighter, leaner and more focused moments that really demand our attention.

Sam's visit to his Mother and Grandfather is a multi layered glimpse into not just Sam's background but the expectations of Grandad - Bud Tingwell in his last film appearance - and Jacki Weaver in a fascinating and multidimensional characterisation.

Her conflicting disappointment, fear, criticism and love for her son are barely fleeting hints of a very rich and detailed back story. And Tina Bursill, just perfect, as a tired prostitute who, in just a few lines of dialogue, sums up an entire life.

In an Interview with Stuart O'Connor of The Guardian, Newton has said of the film, "I guess I also wanted to show what young men should be doing with their evenings as opposed to going and getting killed or having to kill someone else - making mistakes, getting in trouble, meeting girls, playing cards, trying to figure out what it is to be a man."

The themes of loyalty, commitment, honesty and the abuse of power are all knocked squarely and firmly into their respective pockets... with a surprise twist in the final moments surrounding Sam and Harry's personal decisions. This is no gimmicky twist - not at all - it that feels absolutely right given what they have been through over the course of the evening.

Despite some significant film festival wins, the release of the film in its native Australia, and beyond, was very limited and it was difficult to track it down on DVD six years later.

Three Blind Mice deserved better. It's a brave little film - its rawness and honesty show a real freshness and spirit - Newton and his cast, they really do deliver.

I watched this title because it followed as a reccomnedation on a streaming site for a movie that I'd been pleasantly impressed with (Spring Forward). I have enjoyed Australian films as a linear escapade, less driven by typical Hollywood plot. This movie fit that ideal. This movie did not disappoint. There was a story, but the characters lived out the important points and purpose of the film, rather than being driven solely by events and MacGuffins. The performances were subtle and often inconvenient to fitting all plot points. There was tenderness and brutality as they really are in most male communals. The three leads played their parts well, and not stereotypically. Mr. Newton was outstanding and played the central role with charm and grace.

Three Blind Mice is the directorial debut of Matthew Newton , and covers 24 hours in the Lives of three young Navy officers on shore leave, Sounds familiar? Well Its not, No Gene Kelly or Frank Sinatra to be found, The film delves well into dark territory of Navy bastardization and friendship.not since before the Director George Marshall who brought us Destry Rides Again ,The Blue Dahlia and The Forest Rangers (especially) have we seen such an effortless sway between Comedy and Dire Tragedy ,This was like watching 'On the Town" with out the singing and dancing , having your guts wrenched out and a moment later being wildly tickled by them to the point of hysteria.Starring Ewen Leslie (Kokada),Toby Schmitz (Somersault) and as well as directing Matthew Newton ("Changi" and Looking for Alibrandi) as the seemingly fearless Three traveling through the slings and arrows of Outrages Fortune ,involving prostitutes, Swinging Middle aged future Parents Inlaw, and broken bady parts, But aside from this it deals with the darker subject matter of friendship after abuse, alla "the Kite runner' emotional self sacrifice, redemption through acceptance, and maybe Love? This is not a Taratino humor nor a Melinda and Melinda,,its anxious rollercoster ride of fear, and humor that can change in a wink of an eye and still really work. Cast also Includes Gracie Otto as the leading love interest throughout the film,who shines in every scene with a script that rips through the likes of 'Network' and seems more spontaneous,(she also edited this film),Brendan Cowell, as a side of the armed forces we are not willing to acknowledge, Pia Miranda as the shirrty fiancée,Alex Dimitriades (Head On), Marcus Grahem( "Underbelly" and Mulholland Dr. ,Jacki Weaver (Picnic at Hanging Rock) Barry Otto( Strictly Ballroom)and the Great,Charles 'Bud' Tingwell ( Murder She Said, and 'Breaker' Morant) and inhabits a Musical score by John Foreman.Everyone you can think of was here and aside from the three blokes have their own moment to shine. A stella cast (Aside from the absence of Jack Thompson and Noni Hazelhurst)all take their turn to make bloody good Cinema, Aside from 'the Black Balloon' this is one of the best Australian films to be received this year if not the last 5 years,. I have to assure , I didn't not watch and review this film on the basis of its 'lineage' because , its made by the son of 'this person' or the daughter of 'that person', its better than most American films I've seen this year.This film needs to be seen overseas ,it maybe set in Australia, but these things could happen , and have happened everywhere. After you have seem it you wont be crying and you wont be laughing, but you will feel Different, and better for it.

This is simply a poor film.

• Cinematography: Annoying and painful as a drunken home made wedding video.

• Writing: Shallow and incoherent with painfully unfunny jokes.

• Directing: Attempted by a poor first time actor who hasn't realised that it takes real talent to be able to direct and a unique talent to direct from in front of the camera.

• Acting: This is just a film of random people reciting lines with the exception of Charles 'Bud' Tingwell and Heather Mitchell.

• Editing: The inept editing makes the film drag on with no sense of purpose or structure which makes for painful and uselessly long scenes.

This film leaves you with the impression that none of those involved in making it actually watched it before its release.

It should have been a twenty minute short if made at all.

Saw this at the Dublin film festival. The set-up is basically this: 3 navy guys are given shore-leave and what we are presented with is a drama through one night where we see their (mis)adventures as they wander the streets and bars in search of a good time. Except there's a bit more to it than that....details of an incident aboard their ship is slowly revealed throughout the film and is weaved beautifully into this premise. Its the sort of thing which would also work as a play, but I've always liked filmed plays like Glengarry Glen Ross anyway. Thats not to say that this isn't an original work (I'm pretty sure this is an original screenplay and all the more impressive for it). There is also the (in)famous Australian sense of humour at play in this film. For me this is an unquestionably positive ingredient in this work but I found that at my screening of the film most people weren't laughing at the same time as me. Either... 1: I was out of touch with the film's sensibility completely or....2: It was one these audiences which failed to click with the whole thrust of the movie. I am convinced it was the latter.