The Daughter

Much has been said already; slick direction, outstanding performances from the entire cast, especially those we are unfamiliar with on the screen and a brilliant story, 140 years old, that cements as the bed rock. (Rush is quite deliciously understated).

I only have two objections. The editing style is unique (dialogue preceding the scene, or carrying over other parts that is not natural but interesting). However I feel the director relies on it too heavily, passing up the potential for good drama. This is especially noticeable in a confrontation between Sam Neill and Geoffrey Rush. The tension is passed over in favour of technique. An error.

The other objection is that the director claims the play 'Inspires' the screenplay. Despite the changes, it's the same story. It should be 'based upon'. Its an obvious flex of ego.

Minor points aside, this a top notch, captivating drama in all regards, showing the complexities of human relations, and that truth is not always the right option. Ah, the intricate web we often unintentionally weave.

The premise of the film may have been interesting? However, the American lead is weak and unsatisfying. I think casting a capable Aussie in the lead would have given the film much more authenticity. Having said this the film doesn't work very well from a viewer's perspective anyway.

Solid generational drama with real, palpable narrative momentum. The actors were fabulous, it looks fantastic, and the script is top notch. It doesn't hurt to have Ibsen behind you, but this movie goes far beyond the constrictions of a stage production. The only real problem for this movie is the obviousness of the premise from very early on. Some of the drama is leaked out of the story because of this. It's still a worthwhile watch though, because it's carried off quite well. The lack of suspense of what the situation is becomes the suspense of what the characters are going to do about it when it plays itself out. And unlike many other movies with this structure, the actors are all up to the task.

Henrik Ibsen has been a great Scandinavian playwright, very well known until the 80s in most Western Countries. Currently his (great) works are played less often and the man is less known.

So I won't be surprised if someone watched the present film unaware that its beautiful plot was taken from one of his masterpieces: 'Vildanden', published more than a Century ago.

The young Simon Stone showed a great deal of talent and very good taste in changing the story to make it more interesting and fitting with modern times (and Australia). Until I heard the name 'Hedvig' (only name left unchanged from the original play, a nice touch) I didn't recognize the source.

He made a very clever choice: on a soundest plot he built a catching movie, full of passion and realism, enhanced by great performances.

I won't tell anything about the changes he made: for those who know the original, you won't know if the ending has changed. For the others: enjoy.

Henry (Geoffrey Rush) is the master in a town where his logging company is the main attraction. His wife has passed away long ago and so he decides to remarry. This coincides with his decision to close the logging factory due to falling sales. The town is imploding but he wants to pull out all these stops for his wedding day.

His estranged son, Christian, has also returned from America and immediately reconnects with old friends and this includes Oliver and his wife and daughter. He has long born a grudge with his father and as old tensions resurface so do nagging questions from the past. It is the answer to those questions that are the setting for the calamity of the future and a delve into the darkness that the past can often hold.

This is a smouldering watch, all the performances are brilliant especially Odessa Young as Hedwig and Ewen Leslie as Oliver. We also have a fine performance from Rush and the ever reliable Sam Neil – both acting royalty in Australia. It keeps the tempo up almost from the start and is a credit to Screen Australia for investing in such a commendable piece of cinema.