Director/Co-writer: Craig Monahan
Cinematographer: Simon Duggan
Original Music: David Hirschfelder
Eddie Rodney Fleming: Hugo Weaving
Detective John Steele: Tony Martin
Detective Wayne Prior: Aaron Jeffery
Detective Jackson: Paul Sonkkila
Barry Walls: Michael Caton |
Lately we seem to be experiencing an embarrassment of riches - a number of quality Australian films are being released - anything from high drama to outrageous comedy - ensuring that there is something to suit every taste.
This week I managed to catch up with "The Interview", a first feature by Craig Monahan, which stars Hugo Weaving and Tony Martin (of "Wildside" fame).
From the opening sequence we know we are in a nightmare world of tension and anxiety. The look is "gothic industrial", a combination of Gothic columns, Victorian details and monochromatic tones - a goldfish in a bowl on a table near a billowing lace curtain, a sleeping man, a ticking clock and atmospheric music - you just know that something unpleasant is going to happen, and of course you're right.
"The Interview" is a psychological drama about power, guilt and innocence. Tony Martin is John Steele, a tough, streetwise detective who is determined to get his man. Hugo Weaving's Eddie Fleming is a sharp contrast. He is a nobody, scared and confused, wondering what the hell he is doing in a police interview room being questioned about a stolen car. He doesn't even drive - at least lately. Slowly the balance of power begins to change.
Monahan designed the film as a continuous reveal - avoiding the sign posts and early warnings of more conventional drama. This may explain why I couldn't help but feel dissatisfied with the script. It's not that I want neat closure, but the film felt rather like an episode of "Phoenix" (TV police drama), than a stand alone story. (The association with "Phoenix" is not surprising given that a number of people who were involved with that series were involved with "The Interview"). I needed to know more about the past of the police in particular, to make an accurate judgement of exactly where guilt and innocence lay. Or maybe I simply didn't want to accept the "truth" about the characters.
The performances are very strong. Fluid camera movements emphasise the mood of the moment and add interest to what is essentially a confrontation between two people. And the film looks great, with only the highlighted skin tones offering relief from the dominant blue/grey/black. The music by David Hirschfelder (of "Shine" fame) is suitably moody and atmospheric.
A classy and intriguing film.
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