Film Review: The Sapphires

Released: Wednesday 7th November 

Director: Wayne Blair

Starring: Chris O'Dowd, Deborah Mailman, Jessica Mauboy

Verdict: Great acting and singing and some genuinely funny moments, but a loose plot means it never really shines.

***

It’s 1968 and three Aboriginal sisters are performing a country song in the talent contest in a local bar before a hostile white audience and a bemused Irishman. Although they miss out on the prize, the girls pick up a manager/pianist in the form of the aforementioned Irishman, self-proclaimed soul man Dave (Chris O’Dowd). Armed with an advert calling for entertainers to perform for American soldiers in Vietnam, the four head off to get the reluctant blessing of the girls’ parents. 

When youngest sister Julie (Jessica Mauboy) is refused permission, older sisters Gail (Deborah Mailman) and Cynthia (Miranda Tapsell) set out to recruit their cousin Kay (Shari Sebbens), who used to sing with them when they were children. Joined by the ever resilient Julie and with old tensions returning to trouble Kay and Gail, Dave persuades the band to ditch the country and find their inner soul stars as they jet off to romance and danger in war-torn Vietnam.

The film starts off strongly, drawing on the chemistry between the sisters to create a promising premise. The main characters all have their own problems; Dave is a borderline alcoholic, ambitious Cynthia is hurting over a broken engagement, young mother Julie vaguely mentions something about making a better life for her son, stoic Gail is busy watching out for everyone and Kay is confused over how to handle her muddled racial status in racist Australia. 

On this last point, the film should be credited with not shying away from Australia’s troubled racial past, although it generally ignores the history of American segregation. However, as it goes on, these personal issues are generally ignored in favour of various blossoming romances, of which only one seems to reach a clear conclusion by the end of the film. Loose ends are acceptable when they are clearly intended, but in a film billed as ‘the feel-good film of the year’ (I’ve fallen for that line before, Danny Boyle) it seems odd that two of the three major relationships are seemingly forgotten, as are Julie’s plans for fame.

Although no one could accuse this film of aiming to be the next Apocalypse Now, it does generally offer an alarmingly rosy view of the Vietnam War. While most scenes set in the war show soldiers cheerfully gambling, smoking and singing along to some wonderful soul classics, the most graphic image of war is an amputee watching the band perform with a wistfully forlorn expression, as though he has just remembered he forgot to buy the milk. Of course the women are the focus, but the film somewhat loses its impact in the wake of this rose-tinted representation of war. Also, the suggestion that a bit of soul might calm the black troops after the assassination of Martin Luther King is patronising bordering on offensive.

However, while this film is clearly not perfect, it has moments of brilliance. The sharp comedy is pulled off perfectly, particularly by O’Dowd and Mailman, whose chemistry shines throughout, and the performances themselves are breathtaking, often thanks to Mauboy’s superb vocals. Despite being rather forgotten by the end, Tapsell manages to play to both the comedy and pathos of the film. Although determined to maintain the upbeat heart of the story, the filmmakers take care to show the disturbing impact of racism in Australia.

Despite the actors’ best efforts and some sharp, well-delivered jokes, The Sapphires never transforms into anything more than an uplifting comedy with some outstanding performances of soul classics.