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.

What can we learn from the 'Day of the Dead'?

At least this explained why he always seemed
to have art on the brain.

Falling on 2^nd November, Mexico’s ‘Día de los Muertos’ ('Day of the Dead') has a history that can be traced back for thousands of years. With an emphasis on remembrance, family and celebration, there are crucial lessons to be learned from a day that brings death to life.

Despite the many positives, let’s address the inevitable problems that arise with such a suggestion. Firstly, there are the religious overtones to consider. In Mexico, food, such as sugar skulls and special ‘pan de muerto’ bread, and blankets are left out for the soul of the deceased, and some families build shrines to them and to the Virgin Mary. For atheists and other non-Christians, these traditions would be irrelevant or even inappropriate. A second concern is that what would begin as a festival dedicated to the dead could quickly become another opportunity for companies to shove merchandise down our throats: cue an endless array of cards, banners, bunting, toys, sweets and cakes all appearing in shops three months in advance in a tacky attempt to obscure the true meaning with pound signs.

These are, of course, important issues, and as such I am not suggesting that we take every element of Mexico’s traditional Day of the Dead activities, rituals and beliefs and transplant them to the grey November streets of Britain. It is, rather, the essence of this festival that I believe we could learn a lot from. Day of the Dead seeks to unite families in order to celebrate an individual who has died, a complete contrast to the stiff upper lip that we Brits are often expected to maintain, at least to some degree, when faced with the death of a loved one.

Although traditions concerning children tend to be more sober, a significant part of the celebrations are devoted to taking a humorous look at the person’s life. While I have, fortunately, never died, I think I would prefer to be remembered for my wild sense of humour and wacky flights of fancy than as a disconnected, staid and noble figure. Besides, I am all for encouraging dressing up and the consumption of sweets in my honour.

Of course, everyone must deal with death on their own terms, but a festival which encourages mourning as a celebratory group activity rather than a sorrowful solitary pursuit means that families and friends can support each other through grief. While facing that telling space in your life can never be easy, bottling up painful emotions will not help in the long run, and repressing sweet memories that are now bitter with loss means losing part of your life with that person. Having just one person to discuss your loss with, particularly with a humorous overtone, can reassure you that you are not alone. Each individual’s memories of the departed will keep them alive and refreshed, mourned but not idealised, gone but not forgotten. 

While the thought of skulls, souls and altars might make you cringe, it is the message at the heart of this festival that is of primary importance. When people die, it is OK and even healthy to mourn for our own loss, but also do them the honour of celebrating their life, complete with wonders, warts and all.

Five films to see in November

Nothing beats the cinema for escapism: it's full of tension, romance and drama, and it's even indoors. As temperatures and the number of daylight hours drop, take solace in five fantastic films.

Rust and Bone

Friday 2^nd November

Director: Jacques Audiard

Starring: Marion Cotillard, Matthias Schoenaerts, Fabien Baïardi

What better credentials can a film have to offer than Marion Cotillard, a dramatic love story and killer whales? Maybe the accolade of ‘Best Film’ from the BFI Film Festival and a nomination for this year’s Palme d’Or. Cotillard plays Stephanie, a killer whale trainer who grows close to reckless single dad Ali (Belgian heartthrob Matthias Schoenaerts) after a terrible accident. Most reviews are overwhelmingly positive, with some labelling Cotillard as an early Oscar contender, so bone up on your French or grab your reading glasses for this gritty and compelling drama.

Argo

Wednesday 7^th November

Director: Ben Affleck

Starring: Bryan Cranston, Ben Affleck, John Goodman

Directed by and starring a heavily bearded Ben Affleck, Argo is based on the true story of an attempt to pass off six American diplomats stuck in Tehran during the 1979 Iran hostage crisis as a Canadian film crew working on a sci-fi. Argo has been reviewed as a tense thriller with moments of dark humour, all of which sounds right up the street of a cast that includes Bryan Cranston, John Goodman and Alan Arkin.

The Sapphires

Wednesday 7^th November

Director: Wayne Blair

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

If all of this seems a bit intense, try this comedic gem. Also inspired by a true story, The Sapphires follows a quartet of Aboriginal Australian singers, and their well-meaning Irish manager (Chris O’Dowd), who go from country girls to soul stars as they find themselves entertaining troops embroiled in the Vietnam War. It may not be the next Apocalypse Now (which is probably a good thing), but this has been praised as a film with a heart behind the humour.

Skyfall

Friday 26^th October

Director: Sam Mendes

Starring: Daniel Craig, Javier Bardem, Judi Dench

Yes, technically this came out in October, but there are probably quite a few of us already queuing up to relive it again. While the beginning frequently slips into predictable Bond territory (think superficial 'Bond girls' and implausible action sequences), the arrival of Javier Bardem’s brilliantly creepy villain marks this as a move away from the cheesy spy thrillers of the past and as an intelligent and gripping film in its own right.

The Master

Friday 2^nd November

Director: Paul Thomas Anderson

Starring: Philip Seymour Hoffman, Joaquin Phoenix, Amy Adams

Any film starring Philip Seymour Hoffman as a cult leader and Joaquin Phoenix as his dedicated disciple has to be worth a watch, particularly one written and directed by Paul Thomas Anderson. With the performances from the two leads and Anderson’s direction already receiving rave reviews, one of the year’s most highly anticipated films is building up quite a following.