In her debut as writer/director, Rachel Ward explores the causes – and consequences – of loneliness. Ned Kendall (Ben Mendelsohn) is a middle-aged writer visiting his estranged father as he lies on his deathbed. Ned brings his much younger girlfriend, Toni (Maeve Dermody) along for the ride, and it soon becomes clear why: he wants the distraction. His childhood home houses many memories, most of which he would rather forget. Only Ned’s belligerent father, Bruce, and his youngest sister Sally (Rachel Griffiths) still live in the house, but it is haunted by the distinct absence of his deceased siblings, Cliff and Kate. The events surrounding the deaths of his siblings many years ago are revealed slowly to us throughout the film, as Ned slowly works on repairing his relationship with his father. ‘Beautiful Kate’ follows two dramas of one family – in past and present – to their shattering conclusions.
To save anyone from a nasty surprise, Beautiful Kate is based on the provocative novel by Newton Thornburg, and is confronting in its content: incest, suicide, and death all feature. But these sensitive subjects are superbly handled, and Ward’s refusal to pass judgement means that such scenes are subtler than the bare bones of a recap would suggest.
The cinematography and direction in this film is superb. Ward’s use of sound, and light and dark, establishes an uncomfortable atmosphere early in the film. The numerous flashback sequences are also magnificent to watch. Filmed predominantly as if through the eyes of Ned, the viewer is quite literally put in his shoes: we experience close-up shots of subjects when he is concentrating, sudden cuts when he is diverted, and see scenes framed by wire-mesh screens. The miasma that surrounds long forgotten (or deeply buried) memories is perfectly captured, with soft lighting, and the edges of scenes wavering as if swimming in the haze of Australian heat.
The Australian outback lends itself to surrealism and secrecy: wide open spaces, horizons hazy with heat, and isolation. Ward’s decision to relocate the story from its original setting in the novel – the austere American mid-west – to Australia may have been for purely practical reasons, but she sure knows how to work it to her advantage. The story becomes an Australian southern gothic, albeit with sympathy.
However, the setting does not overwhelm the characters – thanks in large part to the excellent casting. Ben Mendelsohn and Bryan Brown act their respective roles – sick with guilt, and sick – incredibly well, but it is their chemistry as prodigal son and pitiless father that impresses most. They completely inhabit their characters, and Brown in particular adopts the right physicality for the role. Sophie Lowe is radiant as Kate – ambiguous to the very end. We are able to understand her vulnerability, as well as her devastating stubbornness.
This ambiguity is a double-edged sword, however. It makes the film more mysterious, but the viewer is also left with many unanswered questions. We are left not really knowing what motivates – or motivated – each of the characters in the past; we can only see how the past has affected their present.
Ultimately, Beautiful Kate is a film about redemption – or at the very least, a lessening of guilt. Ned confronts his mistakes and accidents, and learns to care for his father again. It is a harrowing but rewarding, film. ‘Beautiful Kate,’ for all its pathos, is powerful: horribly, heart-wrenchingly powerful.
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Director: Rachel Ward
Cast: Ben Mendelsohn, Rachel Griffiths, Maeve Dermody, Bryan Brown
Beautiful Kate is in cinemas now
Images from Cinematic Intelligence Agency
