ERSKINEVILLE KINGS (M). (Palace) Director: Alan White Stars: Marty Denniss, Hugh Jackman, Andrew Wholley, Aaron Blabey, Marin Mimica, Joel Edgerton, Leah Vandenberg Running time: 90 minutes.
After a two year absence largely spent cutting cane in Australia's remote north, Barky (Marty Denniss) reluctantly returns home for his father's funeral, and walks into an emotionally charged encounter with his estranged older brother Wace (Hugh Jackman). A couple of years earlier, Barky fled their drunken, abusive father, just as their mother had done a decade ago, leaving Wace alone to put up with his drunken rages. Wace also nursed their father after he grew ill, and is full of rage, frustration and guilt. Barky's return offers a chance for some sort of reconciliation, but the bitter Wace is not going to make it easy for his younger brother. Their conflict is played out amidst the familiar backdrop of their local pubs and billiard halls.
Erskineville Kings is a potent and powerful examination of mate ship and the relationship between brothers, and there is something of a Cain and Abel feel to the drama. Yet this brutally honest and frank drama also depicts a vastly different view of the tough, laconic and unforgiving Australian male than is normally represented on the screen.
In a change of pace from the nice guy image he has projected through his recent work in theatre and musical comedies, Jackman delivers a blistering and intense performance that sears across the screen. This performance marks a return to Jackman's early roots on tv dramas like Corelli, and should garner him plenty of attention come the AFI nominations this year. In a less showy role, Denniss brings a hint of vulnerability to his performance as the prodigal son returning home and discovering that much has changed during his absence. Erskineville Kings is pretty much an ensemble piece, and the supporting performances are also quite solid.
Denniss, who also wrote the screenplay under the pseudonym of Anik Chooney, has developed the film from the short script he originally wrote several years ago exploring the tense, strained relationship between two brothers. The early scenes add to the tension of the final, emotion charged encounter between the two brothers and the shocking revelations that shape their relationship.
The film's structure has a theatrical feel to it. However, director Alan White and cinematographer John Swaffield have opened up the potentially claustrophobic drama by filming linking scenes on the desolate streets of this decaying inner city industrial suburb. These gritty locations beautifully underscore the desperate humanity of the action. Some of these external scenes don't quite work - the scene in Nick's garage is one example - and deflect from the film's emotional core. The assured visual style, a legacy of White's background as a director of commercials, belies the film's ultra low budget. Erskineville Kings is not the best local film of the year (Gregor Jordan's black comedy thriller wins that prize hands down), but its raw emotional honesty, strong performances and powerful insights make a wonderful tonic from the quirky Australian comedies and tired rustic dramas that have long since worn out their welcome.
*** greg king http://www.netau.com.au/gregking
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