Beautiful Kate

A writer returns to his family home at the behest of his sister, to bid farewell to his dying father. Coming back to this remote and isolated place, he starts getting flashbacks of his childhood; and more specifically, memories of his beautiful twin sister. Soon, the memories awaken long-buried secrets from the family's past.

Australian cinema isn't something I've explored very much, but the country has produced a lot of great actors, some of which are on show in this very emotional, intensely-charged drama. Just by reading the synopsis above, you can see that this isn't a light, fluffy movie; it's far from it. We're talking about repressed emotions, shouting matches, slow-burning tension, the works. All that could be done to heighten the drama, director Rachel Ward did it.

Ward is an actor herself, which probably goes some way to explaining why she gets such good performances out of her cast. In particular, Mendelsohn (as Ned) is brilliant – there are many shades of grey to the character, and he expresses it all very well. You've also got Rachel Griffiths in there (of Six Feet Under fame) and she's predictably awesome.

The big problem with this film, though, is that it just drags too much sometimes. Yes, it's all being done to highlight the monotony and isolation of the place (and their emotions), but it gets a bit much sometimes. The central story is very intense, and I wanted them to get through it. Suddenly, everything slows down and I'm left wanting.

However, there's enough here to satisfy an audience member and, if you're able to put up with the slow pace, you'll appreciate the payoff. It's a well-acted, solidly-directed movie. Worth a look, I think.

Beautiful Kate is a slow paced drama, with not much action but an overwhelming and disturbing story that will keep you interested for the entire movie. It's the acting that makes it all worth the detour. Ben Mendelsohn, Sophie Lowe, Bryan Brown and Scott O'Donnell made this unusual story watchable even though the plot will disgust more than one. Good job from Rachel Ward portraying this most dysfunctional family.

There are many good things about this film. It unsentimentally depicts the harshness and bareness of outback farm life in Australia. It has some highly creditable performances from some top Aussie actors. The cinematography does justice to the setting.

The problem is the story. Instead of following through on a psychological exploration of some forbidden desires and their roots in this remote community, which is invited so longingly by the scenario, it contents itself with yet another portrayal of the struggle between a tyrannical old bastard of a father and his surviving son, whom he devalues. Both father and son conspire to turn their backs in denial of what could have been a revolutionary turn of events to match, gee, I don't know, Who's afraid of Virginia Woolf or The Homecoming.

A missed opportunity.

Proving once again that when it comes to intense family drama's and quietly powerful studies of grief and secrets, Australia does it just as good if not better than anyone else, little known but well regarded local film Beautiful Kate is a fine example of the above average productions that often manifest themselves in our home grown industry.

Directed by actress turned director Rachel Ward, starring a then just about to hit the big time Ben Mendelsohn and Australian stalwarts Bryan Brown and Rachel Griffiths alongside the at the time newcomer Sophie Lowe, Beautiful Kate isn't an easy or even what you'd call enjoyable watch but this impressively filmed and acted slice of outback family melodrama is a worthy film to be sort out by connoisseurs of Australian cinema.

The most pressing reason to source Ward's film is of course the man of the moment Ben Mendelsohn. Playing internally repressed writer Ned Kendall who grew up with his unloving farmer father Bruce played by Brown, Mendelsohn once more displays his finely tuned performance skills to play troubled characters and it offers us cinema lovers one of the rare chances to see Mendelsohn take lead in a film even if both Brown and Lowe deserve kudos for their respective turns. Lowe in particular makes a rather confronting and stripped back mark as the layered Kate, Ned's sister who is the central cause behind much of his seething struggles.

The film also looks fantastic with impressive camera-work by DOP Andrew Commis and Ward's direction in certain areas really captures particular moments and feelings, no better exemplified by the way in which the younger version of Ned is often displayed in a first person point of view, throwing the viewer head first into the time and place that shaped Ned's life before it ever really had a chance to truly begin. It's a smart directional choice and a brave one as is Ward's determination to not shy away from the difficult and often disturbing subject matters that lay ever present within her story.

Final Say –

Far from perfect and sometimes not as emotionally resonate as you would've liked, Beautiful Kate is a worthwhile tough watch thanks to its fine production values and noteworthy performances that includes a pre-Animal Kingdom Ben Mendelsohn in what's another fine example as to why he should be regarded as one of Australia's best ever acting imports.

Not a film for everybody, Beautiful Kate is however a film any fan of Australian cinema should check out if they missed its original critically backed run from 2009.

3 ½ campaign posters out of 5

Ned Kendall (Ben Mendelsohn) has come back to the family home with young wannabe actress Toni (Maeve Dermody) after 20 years of absence. He must come to terms with his dying father Bruce (Bryan Brown), and resolve the death of his twin sister Kate (Sophie Lowe). There he finds his sister Sally (Rachel Griffiths) dutifully taking care of their mean spirited father in their old crumbling farm that is soon to be lost to the bank. Much of this movie goes into flashback mode. It's a much more compelling story in the past due mostly to Sophie Lowe's enigmatic performance. The present story is much more depressed, and it struggles under the weight of buried anger. There is a mystery of the family's past. There are deaths not talked about. The present day needs some more energy.