SIRENS
A film review by James Berardinelli
Copyright 1994 James Berardinelli
Rating (Linear 0 to 10): 6.6
Date Released: 3/4/93 (limited) Running Length: 1:34 Rated: R (Nudity, sex, language)
Starring: Hugh Grant, Tara Fitzgerald, Sam Neill, Elle MacPherson,
Portia De Rossi, Kate Fischer, Mark Gerber
Director: John Duigan
Producer: Sue Milliken
Screenplay: John Duigan
Music: Rachel Portman
Released by Miramax Films
On the surface, it's easy to assume that SIRENS is a lighthearted erotic romp through the secluded wilds of Australia's Blue Mountains in the 1930s. Like in some modern-day garden of Eden, there are snakes, ripening fruit, and plenty of naked bodies. However, SIRENS is not content merely to churn through the frothy waters of a sex comedy. By introducing the issue of religious repression, John Duigan's script ventures into an area it is unprepared to deal with.
A young Anglican clergyman, Anthony Campion (Hugh Grant), and his somewhat naive wife Estella (Tara Fitzgerald) have recently arrived in Australia from England. At the request of the Bishop, the pair pause in their journey to Campion's new parish to visit artist Norman Lindsay (Sam Neill), whose paintings are threatening to create a scandal at the opening of an upcoming exhibition. They are to attempt to persuade Lindsay to withdraw something called "The Crucified Venus." Once on his estate, however, Tony and Estella find that life is far different from anything they have previously experienced. There are few taboos, and the presence of three young models (Elle MacPherson, Portia De Rossi, and Kate Fischer) begins to exert an influence on the visiting couple.
Filmed on the actual land once owned by Norman Lindsay (who died in 1969), SIRENS does not attempt to be autobiographical, but instead to draw upon the reputation of the artist to furnish background. Writer/director John Duigan readily acknowledges that, with the exception of Lindsay and his family, all of the characters are fictitious.
The potential is here for a delightful comedy/fantasy with a decidedly erotic edge, but certain elements of the movie work against that aim. There is an underlying current of mean-spiritedness that feels inappropriate in a film striving for a light tone. The most sympathetic character emerges from SIRENS with the "short end of the stick."
Also, the serious discussions involving the Church's repression of eroticism suffer from two problems. Not only are these weightier portions of the script at odds with what the rest of the film is trying to accomplish, but they're too sketchy and incomplete to add anything noteworthy to the overall story. They appear to have been included to inject an intellectual aspect into what is an otherwise lightweight motion picture.
The acting is top-notch. Hugh Grant and Sam Neill are both excellent as friendly adversaries. Tara Fitzgerald, who played Nancy in HEAR MY SONG, gives an effective rendering of a woman caught between two worlds. Elle MacPherson's performance is limited in scope, but the role thankfully doesn't require the model-turned-actress to overextend herself.
Atmosphere is another major element of SIRENS, and that's handled well, aided by numerous shots of undulating snakes and lush vistas. As might be expected, nudity abounds, but most instances avoid seeming excessive or gratuitous, and men as well as women are displayed in various stages of undress.
Nevertheless, by trying to do perhaps too much with this film, Mr. Duigan has limited its effectiveness. As a vehicle for examining the subject of religion versus the freedom of artists, SIRENS is shallow, but the presentation of the issue dampens some of the lighthearted fun. Sometimes, it's better not to try for substance with a basic premise this earthy.
- James Berardinelli (blake7@cc.bellcore.com)
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