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Lantana 2001 |
Review by Jonathan Cornwell |
Directed by Ray Lawrence
R, 120 min. (profanity, sexuality) |
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Starring: Anthony LaPaglia, Geoffrey Rush, Barbara Hershey, Kerry Armstrong, Rachael Blake, Vince Colosimo, Russell Dykstra, Daniella Farinacci, Glenn Robbins
Producer: Jan Chapman
Screenplay: Andrew Bovell
Distributor: Lions Gate Pictures
Released: 12/14/01 (Limited) |
Rating:  (out of ) |
At first glance, Lantana comes across as a murder mystery, complete with police detective and suspects that
each seem capable of the crime. But there's much more going on in director Ray Lawrence's intricately-weaved film
than meets the eye. It's ultimately about relationships, whether they be between married couples, strangers, or lovers.
It's about how these people deal with feelings of love, guilt, suspicion, and forgiveness, while trying to maintain their
mundane, routine-driven lives. For a sophomore director, this is quite an achievement for Lawrence. His skill is evident
as his jagged characters inhabit normal personas while effectively concealing an inner turmoil that eventually bubbles over
into their measured lives. A mystery is presented, but it's not the disappearance of a person. Instead, the mystery lies
in the fruits of self-discovery, and in the implications that those discoveries incur.
The story is complicated but not overbearing. It's easy to follow if you're paying attention. Leon (Anthony LaPaglia),
an Australian cop who is having an affair with Jane O'May (Rachael Blake), hides his feelings of lethargy from his wife,
Sonja (Kerry Armstrong). Sonja loves Leon, but also senses that their relationship is dull and lacking vigor. She finds
it comforting to confide in her psychiatrist, Valerie Somers (Barbara Hershey), whose own marraige to John Knox (Geoffrey Rush)
is on the rocks after the death of their only daughter. Meanwhile, Jane's husband, Pete (Glenn Robbins), tries to reconcile
with her even though she is resistant to the idea. Their next door neighbors, Nik and Paula Daniels (Vince Colosimo and Daniella Farinacci),
try and offer solace to them. And then there's Michael (Rusell Dyskstra), a gay man who happens to be a patient of
Valerie, whom she fears is in a relationship with John. When a sudden disappearance jolts these characters' lives, they are
forced to face their fears and reconcile their actions to their loved ones.
The film's opening scene lets us know the film will center around this disappearance, as we see a thick undergrowth hiding
a motionless, contorted body. Lawrence keeps this mood intact throughout the film as most of his scenes are shot in
darkly lit areas, more or less matching the current state of his characters' lives without becoming overbearing. It also
provides a destination for its story, therefore not abandoning the viewer with an ambiguous conclusion. In this type of
film, some grounded resolution is necessary to show probable closure with each character - that doesn't mean everything
is wrapped in a neat package, but it does point us in the right direction. This type of filmmaking is refreshing and greatly
appreciated.
Each character in the story is unique in their own predicament. They've each dug their own holes, and now they are
being forced to pull themselves out of them. Some characters seek refuge in others, some in isolation, and still others
in confessing feelings to a psychiatrist. What's interesting to watch is that each of these characters has a different view
of what's happening, but that view is limited by factors outside their own control - only we (the audience) have the larger
picture in front of us. Examining how these characters will react or respond to imminent revelations provides the
crux for the story's effectiveness.
Because the characters in the film are unique and rich in their individuality, casting is crucial to success. Thankfully,
Lantana provides no shortage of fine performances from its cast. LaPaglia gives one the best efforts of his career as a
man who's torn between the "grass is greener" mentality and his loving family. Armstrong plays his wife to an exact degree
of anxiety that comes from the recognition that her husband is probably cheating on her. Her sessions with Barbara
Hershey are revealing both for her character and Hershey's, as the psychiatrist must cope with an absent husband of her
own in Rush. Rush's bitter emotional isolation from his wife causes him to curl up in a ball and resist conversation with his
wife. Finally, Blake is appropriately confused with true love and a casual fling, while also conflicted with a piece of evidence
that she has stumbled upon.
Intelligent, well-directed films are rare these days, so when an effort such as Lantana comes along, it's hard to dismiss
as easily as your run-of-the-mill matinee would invoke. An effective combination of suspense, atmosphere, and wonderful
performances gives Lawrence all the pieces he needs to craft a mesmerizing film. Lantana draws you in, traps you, and
is impossible to ignore until the final credits roll. Thoughtful and entertaining, Lantana is a film that's not to be missed.
© 2002 Jonathan Cornwell
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| Masterpiece - Classic; Movie perfection |
 | Excellent - A Must See; One of the year's best films |
| Good - Highly Recommended |
| Fair - Worth seeing |
| Average - Viewable, but not recommended |
| Below average - View at own risk |
| Poor - Avoid at all costs |
| Very poor - An embarassment to the film industry |
| Zero | Awful - One of the worst films ever made |
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