One big happy family -- more or less: From left,
Gemma Ward as Jackie, Erik Thomson as Simon Mollison, Toni Collette as Maggie
Mollison, Luke Ward as Charlie Mollison, and Rhys Wakefield as Thomas Mollison,
in Elissa Down's film "The Black Balloon", making its debut today in the U.S.
THE POPCORN REEL FILM REVIEW/"The Black Balloon"
Fitting In To An Unbalanced World Of Turmoil, But
Whose?
By
Omar P.L. Moore/December
5, 2008
An onomatopoeic-like opening credits
sequence starts and persists throughout in Elissa Down's terrific "The Black
Balloon", a not-so curiously titled film, which could either be a metaphor for
the sheep in an Australian family whose eldest son, 15-year-old Thomas (Rhys
Wakefield), has to adjust to the rigors of a new school following a family move,
or, about the free and happy spirit whose wings have been clipped. The
family Mollison is an eclectic and eccentric group, including the father, Simon
(Erik Thomson), who talks to his childhood teddy bear Rex and seeks Rex's advice
in return. Their mentally-challenged son Charlie (Luke Ford) is the film's
barometer. Routinely teased as a "spastic", Charlie has numerous ways of
getting his family's attention -- some of them more uncomfortable than others.
He will never have a chance to fit in to a world that has shunned him, but the
challenge isn't his -- it is his brother Thomas's mission to fit in with
Charlie. The mission will not be easy for Thomas. He has a potential
girlfriend in Jackie (Gemma Ward), whom he meets at the new school he has
enrolled in. He can barely keep his head above water, but he tries very
hard.
After its March 2008 premiere in Australia, where it was nominated for eleven
Australian Film Institute awards, "The Black Balloon" opened today in Los
Angeles and New York City in select theaters and is sometimes a film with scenes
of anguish and tension, but at other times it is a tribute to love, joy and
belonging. Ms. Down, an Australian filmmaker from the city of Perth, wrote
the film's screenplay in collaboration with writer Jimmy The Exploder (aka Jimmy
Jack) and is adept at capturing the layers of the Mollison family both in her
visual style and in the choreography of a sequence where Charlie causes some
major upheaval in the household. Ms. Down has directed several short
films, and you can tell that her camera captures immediacy, brevity and bursts
of drama in a succinct and profound way, which is precisely what makes "The
Black Balloon" such a rich and adorable film. (The film won the Crystal
Bear award at this year's Berlin Film Festival, and was produced by "Strictly
Ballroom" producer Tristram Miall.)
While Luke Ford is outstanding as Charlie, it is Rhys Wakefield's performance
that is the more impressive one. He has to balance his character's own
anxieties and insecurities about the challenge of a new school and a potential
love interest with his frustrations about adolescence and competing with his
younger impaired brother. Mr. Wakefield meets the challenge head on,
employing nuance, indignation and bursts of anger. "The Black Balloon" is
a unique film to be sure, but I couldn't help thinking of several other films
from Australia, New Zealand and the U.S. that are companions to Ms. Down's --
"Introducing The Dwights" (aka "Clubland"), Cherie Nowlan's 2o07 film from
Australia, "Eagle Vs. Shark", a New Zealand film from last year, and the
American films "Little Miss Sunshine" (2006), in which Toni Collette stars --
Ms. Collette plays Maggie Mollison, the mother of both sons, in "Black Balloon"
-- and "Rain Man" (1988) -- where the film's autistic character has a younger
brother named Charlie. "Rain Man" has very similar themes, but with "Black
Balloon" there is an enrichment of family members surrounding the main
participants that makes the experiences of Charlie and Thomas less lonely.
"The Black Balloon" is a natural wonder of fun, bonding and discovery, and
deserves a lot of audience attention.
"The Black Balloon" is rated PG-13 by the Motion Picture Association of
America for some sexual content, a scene of violence, and brief strong language.
There are also graphic bodily substances, with episodes that may make some in
the audience cringe. The film's running time is one hour and 37 minutes.
Copyright The Popcorn Reel. PopcornReel.com. 2008. All Rights
Reserved.