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 This movie starts out pretty well, as a spoof of suburban life. The friendship between Devon, the girl, and Trent, the lawn mower guy, is well portrayed and touching at times. But the movie's tone is inconsistent, and many situations end abruptly. The final sequence is a very strange choice; it just doesn't fit in with the rest of the story. Not highly recommended.
There is no preciousness or cuteness to Duigan's film, its magic lies in its understatment and its sharply drawn characters. For once a 10 year old in a movie doesn't seem to be posing for an ad, but gives a strong performance as a girl wise beyond her years. And like in so many other films which unite outcasts, Devon and Trent become close friends. This is not what the film is about though, the friendship between them is only a hook to draw veiwers in, what this film is really about is class devide, stereotyping of people and misleading appearances. Christopher McDonald and Kathline Quinlan as Devon's parents are a couple who seem to be raising their daughter out of a parenting magazine. They are involved, worried and completely impersonal. But there is a subtext to this, the father who hates looking at his daughter's scar is a driven workaholic with all the right words but none of the feeling. The mother doesn't have a job so she vents off in other ways. As we watch these events develop to the powerful and poetic conclusion of the film we are completely absorbed from start to finish. What seperates this film from similar sounding dross like Digging To China is its genuine heartfelt investment in its characters rather then cheap heart tugging tactics. It is a wonderful film. Also recomended by John Duigan are Sirens, Flirting and The Year My Voice Broke.
My first viewing left me slack-jawed with wonder and awe. In the following weeks I watched it several more times, with each viewing discovering new depths of emotion. The story is the relationship between two people who go through the motions of social living, but exist as islands unto themselves. Now and then they burst out, as when he decides mid-traffic to take a dive into the river, and she climbs on her roof and sends out a raw howl, waiting for an answering wolf. These abberations further estrange them from a world which has already given up trying to fathom them. Of course they meet, and of course they fall in love. But their love comes by way of reluctant tenderness on his part, and flat, unwavering purpose on hers. She shares her mythical vision with him, and together they inhabit that world. She is amazing, as a character and an actress; she is everything dangerous and irresistible in women. Against his will she draws him inward, not as a seductress but as a sorcerress. By firelight she chants eerily while brushing his bare arm with the foot of a freshly-killed chicken. Her knowledge is not merely beyond her years, it's beyond anything she's known in this life. There are interesting subplots which rise and recede without artifice. The supporting cast has the same direct emotional link as the principal players do. No extraneous footage survived the clean editing of this work. Thus, you tend to remember all the more vividly those poignant, understated scenes. Much has been said about Mischa Barton, who plays Devon. I, for one, am convinced she really is a sorceress, because I can't otherwise explain her acting genius. As for Sam Rockwell, who plays Trent, I am reminded of a quote: Familiarity is cruel to beauty and kind to homliness. At first we see Trent much as the town sees him: white trash. But by the end of the film we forget his looks and see only his character. I've left out a lot, but this is the gist as I see it. Except that Devon is about 10, and Trent's about 30. And that's the rub. This film makes the mortal sin of giving a child independence, strength, courage and, yes, a child's degree of sexuality. To which I say God Bless the writer and director for unapologetically presenting a very incorrect film as the love story it is. That it happens to ring with clear and honest feeling only incites the puritans further. The attraction between Devon and Trent has an undeniable undercurrent of sexuality, part of which is caused by the difference in their ages. That's what lends such electricity to the film. I'll say right now it's the most romantic, exhilirating and touching film I've seen in years. And before you condemn me out of hand, see the movie. Then think of relationships you are familiar with and ask yourself which is more pure and joyous. You may be surprised.
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At the centre of John Duigan's beautiful and lyrical film is a brilliant performance by Sam Rockwell. As Trent the "white trash" living in a trailer, he gives a knowing and intelligent performance as a man, who has lived with this label his whole life. And the more we get to learn about him, about his life during his school years, about his family and watch the relationship he forges with 10 year old Devon, the more interesting and sympathetic he becomes.
This movie was everything I want in a movie... It was tense, funny, and disturbing. I highly recommend this movie!
