| Title |
Review: Themes and Plot |
| Copyright Title |
Unique directing in Jindabyne |
| Released |
2006 |
| Production Year |
2006 |
| Comments |
Comparing the themes of Jindabyne to the works of other films and seeing how with the character development of Beatrix Christian, how the environment and links to the surroundings show the metaphorical stress is portrayed by Lawrence, and what differentiates the film to any other. The article mentions the discovery of the victims body or the paramount issue in the movie is displayed nearly an hour into the movie. Lawrence always talks about his real human interaction and issues that affect even those watching, therefore aimed to build a story for each character before revealing what would later test there moral limitations and responsibilities. It is this crafty and unique model of an edited and invented script that is topped off with an award winning chilling soundtrack, why Lawrence chooses the same crew of people and the same themes in all of his work.
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| Synopsis |
If director Ray Lawrenceâs last film, the masterful Lantana, was an Altman-esque ensemble piece, Jindabyne is closer to David Lynch in its themes. The driving force behind the film is that most Lynchian of themes, namely suburban pretense giving way to a sordid and disturbing reality underneath. The finding of the body is as bizarre as Jeffrey Beaumont finding the severed ear in Blue Velvet, whilst the crumbling relationships of the denizens of suburbia is none more âTwin Peaksâ. However, this does mean that a lot of plot lines are built up around the discovery of the body (itâs not discovered until nearly an hour into the film), and their overall relevance is debatable. For example, Carl and his wife Jude (Deborra-Lee Furness) are raising their granddaughter (Eva Lazzaro), who has severe emotional issues. Then thereâs Stewart and Claireâs impressionable young son (Sean-Rees Wemyss). There are also character arcs for Rocco, Billy and the killer (Chris Haywood) whose actions set the plot in motion. Based on Raymond Carverâs short story âSo Much Water So Close To Homeâ, Beatrix Christianâs script adds a lot of character development onto the plot, but some of of it does seem surplus to requirements. That said, it all ends very satisfyingly and draws great performances from its cast, with Linney and Byrne in particular in fine form. These characters all seem lost, flawed and above all, real; a grounding in reality overcomes their superfluousness.
Jindabyne is a haunting film, due in no part to David Williamsonâs absolutely beautiful cinematography. Itâs a stunning film to look at, with Australiaâs wide natural vistas being both welcoming and foreboding simultaneously. The enticing visuals help director Lawrence walk a thin line between fierce drama, intense character study and creepy thriller (the opening cat-and-mouse pursuit, for example). For the most part, these disparate elements sit well together. Thereâs little respite from the downbeat tone, but thereâs no faulting Jindabyneâs atmospherics or beauty.
Some critics question what an Irish man and his American wife are doing living in the Australian south-east. However, the heavily-accented Byrne and Linney remind us what Jindabyne is about. Itâs about people struggling to fit in to their surroundings, including fitting in with the local people. Jindabyne is a well-intentioned film, well-acted and well-made. |
tags: jindabyne film response
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