Little Fish

Tracy is an ex-heroin junkie how has cleaned up and wants to start a new life in her new store' but she cant finance her new endeavor. Her brother Ray is a speed dealer looking for his big deal, his friend Jonny is an ex-deal who is now a stock-broker. Lionel is looking to go straight, giving up heroin. Tracy's mother Janelle was friends with Lionel but broke off when he gave Tracy Herion. Lionel is also infatuated with Brad, his dealer.

This is a very strong drama, and its been awhile since Australia has made a good drama. The story is a great look at family, friendship, the pain of change and rejection. Jacqueline Perske script is very deep and multi-layered. There are many sub-plots that keep you constantly thinking. Rowan Wood's direction is a step up from his last feature 'The Boys', being more experimental and more unconventional. The cinematography is wonderful, the use of many washes raise the mood and tension to higher levels, tightening the atmosphere of depression.

This has a stellar cast; Cate Blanchett, Hugo Weaving, Noni Hazlehurst, Sam Neill, Lisa McCune, Martin Henderson and Dustin Nguyen all give strong performances, not a single flaw in the acting. Blanchett and Weaving give great career performances, Weaving is just brilliant. Hazlehurst brings a performance so shockingly different, this is not the Nomi you know from 'Play School'.

The only thing i felt was wrong with Little Fish is its just abit to long. If it was cut down by ten minutes or so, it would have the pacing more faster and get to the point a lot quicker.

This is a spring board of better things to come out of Australia.

As Cate Blanchett said herself, 'Little Fish' is about the people between the middle class and lower class, those who are struggling with their daily lives and are largely ignored. Perske's screenplay is good but it could have been a little tighter as the film does drag at some portions. Woods is good and he brings a certain realness (with the help of the actors) in portraying the complex relationships between the characters. All the main characters, most of them 'recovered' addicts and some returning addicts, try to seek a better life but there is just 'one last trade' that would 'get them to their goals'. Dustin Nguyen (in spite of an uneven accent), Martin Hendersen, Sam Neill and Hugo Weaving are all adequate in their parts and Noni Hazelhurst is wonderful. However, 'Little Fish' belongs to Cate Blanchett. One can see a Blanchett that's completely different from her Hollywood films (then again she's always different in each of her movies). A difficult part required an immensely talented actress and she just makes the task look easy. There's a frightening scene where Cate's Tracy is tempted to 'return' but then a magical scene follows where she walks into a choir rehearsal of a group of singing Vietnamese children and she is confused, conflicted and eventually comforted. This one profound scene was so brilliantly executed with the long shot camera, the innocent voices of the children as they sing the powerful words, and Cate asking repeatedly where the bathroom is while being confused, that the strength of it stays in mind long after the end credits have rolled.

It's a disturbingly honest film portraying a hauntingly familiar life and how it is affected by the seamy drug/underworld of Sydney's Asian community. That's not to say that only the Asian community has drug and underworld problems, but it makes for an interesting and colourful backdrop for a complicated but compelling story. In fact, even now two hours after we left the cinema, I'm still mildly troubled by the seeming hopelessness of the confused lives portrayed. It was so real, so close to the bone. The characters could easily be you, or me. As another reviewer stated:

"There's no light-the tunnel goes on forever." A pretty accurate assessment.

I've heard it said that for Blanchett and Weaving their performances rank as personal bests, but I'm not all that sure I'd go that far with Weavings. He was good, very, very good as the broken-down drug-ridden ex-football star but Blanchett's performance as the reformed addict desperately trying to get her life together, to set up her own business and actually resurrect something from the pathetic life she has, was absolutely amazing. Her character is both complex and simplistic all at once. You can detest and love her, feel sympathy and disdain and find by movie's end you're aware that she could so easily be you.

Included in the cast as perennials the likes of Noni Hazlehurst, Lisa McCune and Sam Neill all played sound parts but not a patch on the leads. The balance of the cast are movie journeymen/women who have many and varied backgrounds. None were overly outstanding, although I found the character of Jonny, Blanchett's former boyfriend played by Dustin Nguyen to be quite well done. He disgusted me for what he was and what he wanted to be and that's the actors art.

Go and see this flick. It's an outstanding example of the Australian film industry's capabilities. I rate it 8 out of 10.

This is an interesting movie, well worth seeing, even though it has substantial failings. Evenness of pace is probably its most debilitating aspect: the slow, steady plod to the climax prevents that climax from being quite as climactic as it should be. Also, the director and his DOP are too in love with the hand-held camera for their own good: too much of it really is irritating, and there is much too much of it in this film. Having said that, there are some wonderful shots and juxtaposition of shots, moving us from warm reds to cool blues and back again. As far as the plot is concerned, the characters are all too neatly slotted into it, emphasising the story's artificiality, which plays against naturalism of the acting, just as the snappy editing plays against the hand-held camera-work. .Compare and contrast THE USUAL SUSPECTS, which is so wonderfully artificial throughout that its story's twists, turns and games, and the theatrical turns from most of its cast add up to something very entertaining. LITTLE FISH, in the end, perhaps takes itself a little too seriously.

That's the carping out of the way. The good news is that the acting is terrific. Blanchett is a rare leading actress, capable of convincing us she's an ordinary working girl - one simply can't imagine, for example, Kidman taking this role on and making it so real and touching. Sam Neill, cast against type, is wonderfully loathsome. Martin Henderson, Dustin Nguyen, Joel Tobeck - all give top-class support. But the revelation is Hugo Weaving, who is magnificent as the drug-addicted former star-sportsman. Can this be the same actor who has been marking his time in THE MATRIX and LORD OF THE RINGS? Amazingly, it is. A totally convincing transformation. All in all, an only just better-than-average thriller, greatly enhanced by its actors.

This film is about a woman who tries to get her life back on track after 4 years of heroin addiction.

I find the plot confusing, and the story poorly told. It is a drama, but lacks the drama. The pace of the story is very slow. Even after 90 minutes of the film, the only message I really perceive from the film is that Cate Blanchett's character is unable to get a loan despite repeated attempts. I am particularly annoyed by the excessive use of glares and halos around bright lights. It is not even a nice visual effect to start with anyway. Despite the stellar cast, I find this film unable to deliver what it could have been. I would not recommend it.