HOTEL SORRENTO
A film review by James Berardinelli
Copyright 1995 James Berardinelli
RATING (0 TO 10): 7.2
Australia, 1994 U.S. Availability: widely variable (1995) Running Length: 1:52 MPAA Classification: No MPAA Rating (Profanity, mature themes) Theatrical Aspect Ratio: 1.85:1
Cast: Caroline Goodall, Caroline Gilmer, Tara Morice, Joan Plowright, John Hargreaves Director: Richard Franklin Producer: Richard Franklin Screenplay: Richard Franklin and Peter Fitzpatrick based on the play by Hannie Rayson Cinematography: Geoff Burton Music: Nerida Tyson Chew U.S. Distributor: Castle Hill Productions
How does the world view Australia? For that matter, how do Australians view their own country? HOTEL SORRENTO, a thoughtful and nicely acted (if occasionally pedantic) motion picture, attempts to answer this question, among others. But the real meat of the story is the examination of the dynamics of yet another dysfunctional family -- the ties that bind them and the buried secrets that rip them apart.
The three Moynihan sisters couldn't be more different. There's Hilary (Caroline Gilmer), the oldest, who has remained in Australia with their aging father, raising a son alone after the death of her husband. Meg (Caroline Goodall), the middle sister, has dusted the dirt of Australia from her feet and moved to England, where she lives with a British husband and has authored a critically praised novel called MELANCHOLY. Pippa (Tara Morice) is the youngest, a high-spirited advertising exec who lives and works in America, but has returned to her homeland with the promise of bringing submarine sandwich franchises to the Antipodes.
Although the three interact civilly, and occasionally show signs of compassion and even affection, it's clear that something is rotten at the core of the three-pronged relationship. The biggest strain is between Meg and Pippa, who often appear on the verge of doing physical harm to each other. Though occasionally melodramatic, the unfolding of family secrets and the revelation of how they have poisoned the sisters' relationship gives HOTEL SORRENTO its momentum.
Of less interest are the political dissertations about how Australia has modernized during the past ten years, shedding its love of the static and embracing a willingness to change. Some of the dialogue, which aspires to the level of that of French writer/director Eric Rohmer, ends up more pretentious than insightful, and several of the conversations go on for longer than they probably should.
Nevertheless, despite missteps, it's the dialogue, with all of its philosophical musings and politically-charged wrangling, that differentiates HOTEL SORRENTO from the more common family dramas. The problem is that some of the time devoted to abstract arguments might have been focused on more fully fleshing out the emotional elements. By the end of the picture, there are still several noticeable holes that need plugging. Director Richard Franklin succeeds in tying together politics and the Moynihan family, but never completely explores each sister's pain to the extent where this dimension of the relationship contributes effectively to the film's overall impact. HOTEL SORRENTO is a pleasant, atmospheric film seeking to paint a comprehensive socio- political portrait that it never quite gets on the canvas.
- James Berardinelli (jberardinell@delphi.com)
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