Pretty Good

I like movies that are aware of what they are selling... without [any] greater aspirations than to make people laugh and that's it.

A great movie, one of the best of this year. There was a bit of confusion at one point in the plot, but nothing serious.

It’s sentimental, ridiculously long and only occasionally funny

Thank you Shirley Barrett for writing and directing this movie because you have created a masterpiece. I begin to live in 1928 when I watch this movie. I feel I can step into the screen, help Meredith unpack her belongings and set-up my room in that lovely old house, put the kettle on, and walk outside in that bitterly cold air. I wear the scratchy woollen coat that Meredith wears, the hand knitted woollen vest, the skirt, and loose thick stockings bunching up at the ankles. I look at Mr Fleet (the exceptional Marton Csokas) and am drawn to his shy wounded persona, his awkwardness, and his pain. This movie is astonishing because It draws me into the time of these characters (like no other movie can). I have watched this movie about 8 times and I never tire of it. It was in this movie that I first saw Csokas. I couldn't believe how surpub his performance was. I asked, who is this incredible actor? I have since watched him in many movies and his capacity to express vastly different personalities in every role is just stunning. What an observer of human behaviour and non-verbal communicator! The isolation, the cold, the children, the lonely residents, and those who choose to be alone - the depiction is so real and so true, you feel like you are intruding in conversations. The pace is right, and the music so suited to the telling of the story, and so sublime, that I bought the soundtrack too. I wrote this review because there are so many award winning movies that are appalling, ('la la land' comes to mind), yet masterpieces like this one are overlooked. If you enjoy a love story with warm, gentle characters who are very real (imperfect), if you enjoy the thought of isolation and staring at the wind-swept seascape like in a Bronte novel, and if you like to gently explore the personality of someone you find increasingly fascinating - this movie is truly for you.

Take nine rather unpleasant people who treat each other badly, put them on a small, desolate, windswept island and you should have the makings of a film that even Ingmar Burgman would find tedious Shirley Barrett, who seems to have a predilection for making films about unattractive people, manages to turn these ingredients into an elegy to "hope". Hope, you may be aware, is a member of the trilogy of eternal virtues that can redeem the lives of people who refuse to succumb to feelings of self-loathing and despair.The other two eternal virtues are faith and love, and if I have a criticism of this film, it is that Barrett does not allow the last two humans standing on the island to consummate their growing mutual attraction, at least within the confines of the film The prop she uses to make this believable is the lighthouse they manage to keep illuminated, shining in the darkness of the surrounding stormy sea Miranda Otto gives us a grown-up reprise of the character she created in Barrett's first film, "Love Serenade"Marton Csokas crafts his performance as a World War I shell-shock, neurotic so organically that we can believe his stilted overtures to greater intimacy at the end of the filmBarry Otto's light house keeper has taken a different route to dealing with the moral void uncovered by the evil and stupidity of World War I. He too has been damaged by the experience, but instead of succumbing to the numbing silence of Csokas, he has embraced a near military conformity to the idea of the benign authority of human institutions, all appearances to the contrary. It is a mark of Barrett's skill as a writer-director, that she allows his niece to acknowledge his care for her when she had attracted the disapproval of polite society.Barett has crafted a small, quietly spoken, life affirming film that draws the viewer into the lives of its protagonists and leaves them feeling richer for the experience.

If you don't mind watching a film populated with flawed but easy to identify with characters, then I urge you to check out South Solitary. I enjoyed this film very much, particularly the performance of Miranda Otto as Meredith, as it would be very easy to find this character unlikeable if it had not been handled as beautifully and sympathetically as Miranda does. It was also interesting to see the inner workings of an operational light house from that period as I new very little of the life of a light house keeper going into the screening. The sound design is also brilliantly weaved throughout helping to add a lot of emotion within the probably smallish budget. I found South Solitary both wryly funny and human in just the right proportion and for the right audience it will be a pleasant surprise.

The new Australian romantic drama South Solitary is beautifully filmed, nicely acted, but is ultimately a rather dull and vaguely unsatisfying experience. This is the first film from director Shirley Barrett in over a decade. Barrett's debut film Love Serenade was a vaguely disappointing story of love, loneliness and desperation set in rural Victoria, and established her reputation. There are a few thematic similarities with her third film, South Solitary, which is a claustrophobic tale of love, loneliness and desperation set in on a remote windswept island off the coast of Australia in 1927. Wadsworth (Barry Otto) is a veteran of the lighthouse service who has been sent to the remote South Solitary lighthouse to bring the staff into order after several complaints have been lodged by passing ships. He is accompanied by his niece Meredith (Miranda Otto), an unmarried 35-year-old woman, who has never found a man in her life since her fiancé perished in WWI. The family living on the island are initially resentful of their presence because they assumed that Harry (Rohan Nichol) would be automatically promoted. However, the isolation soon begins to take its toll on the desperate, love-lorn Meredith and her demanding uncle. Psychologically damaged World War One veteran Fleet (Marton Csokas) is another regular worker at the lighthouse, and he does not quickly warm to the pair either. And Meredith's affair with the womanizing Harry further complicates the dynamics of the small group. The performances of the key cast are very good. This is the first time that Barry Otto and his Miranda Otto have appeared together on film since Dead Letter Office in 1998, and their dynamic adds to their relationship. Miranda is strong as the psychologically scarred and love-lorn Meredith. Csokas is good as the withdrawn Fleet who has his own emotional baggage to deal with. Barrett's low-key direction keeps everything understated here. South Solitary is deliberately paced, and not a lot happens in the first hour and the running time could have been trimmed by at least 20 minutes. There are few dramatic moments to hook the audience in. Nor does the film really tap into the psychological implications of the isolated setting for the characters. The film has been stunningly shot on location at lighthouses near Point Nelson and Cape Otway, by cinematographer Anna Howard. These isolated locations certainly help underscore some of the film's main themes. But the film is ultimately something of a disappointment. While not quite another typically down beat and grim local drama, South Solitary is nonetheless a moody and largely low key drama that will struggle to find an audience.