[yasr_overall_rating]
A glamorous woman returns to her small town in rural Australia. With her sewing machine and haute couture style, she transforms the women and exacts sweet revenge on those who did her wrong.
As a journey from denial to acceptance, back to denial and then again acceptance, the Jocelyn Moorhouse-directed and co-written flick is a medley – or, depending on the perspective, jumble – of elements that are so wonderfully executed together that the film works. It bends and breaks the rules and traditions of storytelling and genre on numerous occasions, but that is precisely what makes the Kate Winslet and Liam Hemsworth starrer unexpected, original, and largely entertaining.
“The Dressmaker” follows talented fashion designer/seamstress Myrtle “Tilly” Dunnage (Winslet), whose identity is tarnished by a murder she supposedly committed in her youth. Following a successful career in Europe, Tilly returns to her godforsaken, middle-of-nowhere, Australian hometown of Dungatar in 1951, seeking to tie up all the loose ends in her life, and rid herself of the haunting shadows of her past. She embarks on this journey with her troubled, ill mother, Molly, who is spectacularly played by acclaimed Australian actress Judy Davis. With a truly remarkable ensemble cast that includes near-perfect performances by Hugo Weaving, Liam Hemsworth, and Sarah Snook, the movie communicates not only the surprising tales of a town’s women scorned, but also that of the obliteration of the town itself – one with too many dirty secrets buried under the rug.
Luckily for viewers, the movie is not even half as depressing or clichéd as could have been; in fact, it isn’t dull at all. It thrives on the basis of its exceptional structure, outrageous and outstanding performances, and an execution of the film’s material that is masterful in almost every way. The chaotic arrangement of the plot is as natural as life itself in its unpredictability; and again, what ordinarily should be considered wrong with the project actually works in its favor. Though there are plenty of innuendos, dark themes, and a serious subject matter or two at hand, the material is handled with class rather than crass.
In terms of genre, the film depicts elements of a western, drama, tragedy, comedy, romance, crime, suspense, and mystery – yet, none of them clash. Each genre has a place, and a belonging, in the film. The cinematography, direction, screenplay, score, set design, and costumes are definite hits; however, the same cannot be said about the editing, which dramatically errs post climax. Where the film should have ended, it instead extended well past its prime in order to conclude in style.
On the surface, there is nothing entirely original about this film. What does markedly stand out about it is the unconventional take on the whodunit sub-genre that the movie epitomizes, and the cast of class acts who put on a show that is sure to please even the most cynical of movie goers in some way.
In theaters September 23rd
