Burning Man
Director: Jonathan Teplitzky
Cast: Matthew Goode, Bojana Novakovic, Jack Heanly and Rachel Griffiths
Releasing in cinemas: 17 November 2011
Rated: MA 15+
Technique
swamps content
The
unfortunately bizarre technical approach by writer/director Jonathan
Teplitzky (Gettin’ Square) to
a weepy love story about an unstable short-tempered chef overworked in
a busy Bondi restaurant, distances us from the characters and
diminishes the emotional impact. This is a pity because of the fine
performances from Matthew Goode, Bojana Novakovic, and young actor Jack
Heanly.
Tom (Goode) seems a decent sort of bloke at heart, but
behaves like a fox in the hen house with anger management problems. His
magnetic attraction to women he enjoys to the full - including friendly
prostitutes - although he's trying to come to terms with the death of
his young and lovely wife Sarah (Novakovic), and care for his
eight-year-old son Oscar (Heanly). A number of attractive ladies try to
help put Tom - like Humpty Dumpty - back together again, including
Karen (Essie Davis), Sally (Kerry Fox) and Miriam (Rachel Griffiths).
A pivotal scene is a cleverly photographed car crash, which dominates
the visuals. Things come to a head at a beach party for Oscar which
turns out to be violent disaster. In this film, there's a great love of
smashing up things. The gentler coda moves into a more tearful mode.
It's been said Nostradamus threw all his quatrains into the air and
gathered them up in random order to confuse the sequence of his
predictions. Jonathan Teplitzky, who comes from directing music videos,
takes his hint from Nostradamus as the early part of Burning Man becomes a potpourri of
dislocated images, making it difficult fathom exactly what's going on.
Teplitzky seems endeared to the fragmented shot-out-of-a-gun style of
editing. For an emotional story of this nature, conventional linear
time with Acts 1 to 3, would have been less distracting. It’s extremely
hard to engage with actors when they are presented staccato style in
disrupted time sequence.
On a positive note, Matthew Goode (A
Single Man) is impressive as darkly tempered Tom having his way
with the ladies. He's at his best in the gutsy scenes, and towards the
end of the film. There's excellent backing from other cast members;
especially Bojana Novakovic (Edge of
Darkness). She plays Sarah's painful decline through cancer with
such conviction, it may be uncomfortable for those with first hand
knowledge of the illness.
As mentioned Jack Heanly (Animal
Kingdom), a most promising newcomer, gives a compelling reading
as the young son. Rachel Griffiths (Beautiful
Kate) has a smaller part than might be expected, but as usual
makes the most of her screen time. Essie Davis (The Slap - TV) and Kerry Fox (Bright Star) provide solid
performances.
Confronting images abound: in the opening scene we're greeted with a
nude bottom jiggling in a sex scene. Cinematography by Garry Phillips
is always of a high order, often striking iconic compositions. Flames
are a major motive throughout the film. We also learn it's a bad plan
to send your order back in a busy cafe.
You probably won't need a box of Kleenex after all, for the treatment
doesn't inspire the sympathy it should for the characters. This is a
case of style distancing emotions, yet the acting and cinematography
are praiseworthy. Had the director seen fit to drop his flamboyant
approach, this could have been a particularly satisfying movie.
John Bale