Peaches

I sat through an hour and half of sheer cinematic enjoyment yesterday afternoon as my wife and I watched the unfolding drama of people as they pass through the vicissitudes of life. Smith's writing painted a perfect tableau for a wonderful display of acting skills from all of the actors with special mention going to Emma Lung for her skillful portrayal of the principle character as that young woman traverses the minefield we call early adulthood. In my opinion, there is drama enough in life's path-it is not necessary to repeat the silliness of Hollywood by exploding the screen with car crashes and blood spattered body bags in order to tell a film story. One need only remember the beauty of the French film "Etre et Avoir" to see the extraordinary beauty of the simplest of human dramas.

I loved the softly, softly approach that Monahan pulled from his three leads-Weaving, McKenzie and Lung. The beauty of their acting, blended with the landscape into which the story was set left this viewer totally enchanted. If we can continue to make films of this caliber our industry, although temporarily passing through the doldrums, will emerge stronger and more vibrant. I anticipate watching every film our local cinemas screen.

I am writing this on August 16, '08 after again being entranced by this wonderful film on television last night. If anything, I was even more impressed with Peaches than I had been four years earlier when Diane and I first viewed it.

Growing up as I did in a small town not dissimilar to the location of the movie, I have huge empathy for people in small towns and the trap they must feel because of their situation: that situation the result of too early pregnancy; failure to pursue education beyond the town; fear of the unknown; lack of imagination or misplaced loyalty to loved ones (who in most instances would rather see their kids fly and lead their own lives.) The extraordinary beauty of Peaches was its ability to examine this issue of "leaving or staying" in such a gentle, dare I say loving sort of way.

A brilliant film to be sought out and treasured; a classic!

The Australian film industry is reputed to be in a mess, and this film gives a hint of why that might be. Set and filmed in the South Australian Riverland area, famous for its grapes and stonefruit, it attracted funding from the SA and Australian film commissions and the scenery is lovely. But you don't get much for $A5.5 million in movie production these days and despite some nice cinematography the production values are pretty modest – FAQ TV movie level. Most of the money probably went on food for the shoot. Hugo Weaving is in it (he must owe director Craig Monaghan a favour after the brilliant "Interview") and there is other fine acting from Jacqueline McKenzie and (especially) Emma Lung as Steph. Yet somehow it doesn't make it.

Is it the script? This is by Sue Smith who has written many absorbing hours of TV drama ("Carson's Law", "Brides of Christ", "Bordertown"), and while her dialogue is a bit posh for a bunch of peach cannery workers it is at least coherent.

Is it the plot? It is indeed a bit over-ripe. We have the melodramatic circumstances of Steph's birth, the love to hate relationship between her aunt and the cannery foreman, Steph's taking up with the said foreman and his brother, not to mention the brother's criminal record, and an arson attempt. But in the end nothing truly out of the ordinary occurs.

Is it the theme? Life in rural Australia has never been easy and is not getting any easier. Canneries are closing, small towns are dying, and the drought is tightening its grip. The film reflects all that but somehow inadequately reflects the resulting personal malaise. "The Farm" (a mere TV movie) and "Three Dollars" did a much better job of combining the character's personal dilemmas with a more general view of their circumstances.

As to the acting, there is little to complain about. Hugo is a very fine actor and both he and Jacqueline get away with being 20-year-olds in the flashback scenes. I'm not sure the part was a huge challenge to his resources but he handles the love scenes with Emma very well - his alleged ugliness (I like to think of him as lugubriously handsome) is only an issue for those who do not realise that attractive young girls can and do fall in love with ugly old men (remember Rasputin, and heck, Hugo was only 42 at the time of filming).

Jacqueline McKenzie provides an interesting contrast between the party-loving girl of the flashbacks with the present-day overprotective aunt who uses Steph's mobile phone as an electronic leash. Emma Lung shows some real talent as the pretty, confused and dyslectic Steph, Craig Monaghan has put the story together quite artfully and tastefully with some nifty cutting but in some ways the whole is not quite the sum of its parts. The characters are interesting and sympathetic, but a bit dumb, somehow. Maybe that's the Australian condition!

PS: warning to Peugeot lovers – at least one splendid 504 is destroyed during the movie. – a most unusual car for a seasonal fruit picker to be driving in the early 1980s, even if he was Vietnamese.

PPS: "FAQ" is a wool classing term – it means a fleece of "Fair Average Quality".

I really enjoyed the performances of the main cast. Emma Lung is courageous and interesting. The director has developed performances where the characters are not one dimensional. A complex story with the changing between eras. Also appreciated the underlying story of the unions losing power and the effect of a large employer closing on a small town. I do not agree with the comment that the older man has to be attractive. There have be many relationships with older men and younger women - without the male being good looking. Depth of character can be appealing to the not so shallow. The film has a good look and the cinematography is also good.

Let me be the first non Australian to comment on this :) I got the movie for Hugo Weaving and I watched it to the end. It's one of those "drama of life" films, as my mother used to call a movie that depicts a real life story with no extraordinary events and that is mostly descriptive.

I liked the light and the girls. The rest was without too much fault, but without too much merit either. I yearned for something like The Interview, or at least some matrix villain element here and there, but nothing out of the ordinary. The story does teach one about facing one's own destiny and break free from the environment others build for you, but this happens when the life giving peach factory in the area is about to close, so not much of an effort to change things is required.

The "smart" American Beauty sound-alike song in the background could have been part of a larger soundtrack, but just that one playing over and over again became annoying after 100 minutes of film.

In the end, I guess it did his job of presenting a part of Australian life, but to me it didn't seem specifically Australian (it could have been placed anywhere) and it didn't seem attractive as a story.

I guess one must be in a certain mood to like the movie.

This story is beautifully acted. It is both sad and heartwarming about a young girl's journey to discover where she has come from and where she is going. Stephanie was adopted by her mother's best friend after her mother and father were killed in a car crash, and ever since she has been labeled the 'miracle baby', she is dyslexic and is finding life a bit tough. Her findings along the way affect those closest around her. Her relationship with her guardian and her guardian's ex boyfriend are handled very delicately and sensitively, and the whole of the supporting cast are genuine, 3 dimensional and believable. Set around a peach canning factory in small town Australia, this is a warm gentle, erotic film, and leaves you with a pleasant feeling when the credits close. After reading some of the other rather shallow comments about Hugo Weaving, I would like to add that I think he was brilliantly cast, and was extremely sexy. No, he is not Brad Pitt, but that doesn't mean that he isn't attractive.