Film 78: Animal Kingdom
My chum Tim and I watch a film every week, taking it in turns to pick. The only catch? Each film has to be linked to the previous one by a shared actor. We’re on the hunt for classics we’ve missed, hidden gems and films to reappraise now we’re, uh, getting older.
We watched Muriel’s Wedding and it was one of the best we’ve had so far in the CRFC.
Like last time it came down to a binary choice. On the one hand Animal Kingdom (2010), a gritty crime drama. On the other, Children of the Revolution (1996), a comedy about Stalin having an illegitimate Australian heir. I was mainly considering the latter to compare with last year’s excellent The Death of Stalin (plus it seems fairly positively reviewed and has Geoffrey Rush, F Murray Abraham and Sam Neill in). Then I watched the trailer and… it was Animal Kingdom all the way.
He was one of Muriel’s deadbeat siblings last time, and seems to be something if a mainstay of Aussie film and TV. I’ve not seen him in anything else, but as he’s one of a couple of cast members who could link is to Animal Kingdom, it’s time for a second bite of Wyllie.
Animal Kingdom and me
I’ve always been a bit scared of Animal Kingdom, if I’m honest. I don’t gravitate towards gritty crime stuff at the best of times (there are a LOT of seminal British gangster films I’ve never seen), and this is Australian. And in my head Australian films tend to have an extra layer of grit, an extra twist of the knife.
The Proposition always sticks in the mind as an example, but it’s true of the first couple of Mad Max films too (fyi I will not hear a single word against Mad Max Fury Road, but that’s a different topic for another day). Muriel’s Wedding demonstrated this too, tackling topics a UK or Hollywood film about Abba and weddings would not go to. And last year’s It Comes At Night, directed by Animal Kingdom star Joel Edgerton, fits the bill too…
So although I’ve only ever heard great things about it, Animal Kingdom scares me.
A seventeen year-old navigates his survival amongst an explosive criminal family and the detective who thinks he can save him. 7.3 stars.
Well I don’t know what I was so worried about. It’s not exactly a light hearted romp, mind, but there’s a lovely sensitivity to Animal Kingdom that balances out the subject.
When the opening scene was of J (James Frecheman), a teenager, calling paramedics to attend to his ODed mum, who had died, I’ll admit I felt a little bit justified in my fear. That said teenager is then inducted into his extended family who specialise in armed robbery didn’t help. A family being molested by police who are, by all accounts, itching to shoot first and plant evidence later…
But the violence, when it comes, isn’t lingered on. There’s a spray of blood from off camera here, a gentle panning away there. J doesn’t have to see the worst of it, and we’re not made to either. So J is hauled in for questioning by Guy Pearce’s tired cop we still have sympathy for him holding out. He’s not a saint himself, and the family have shielded him from the worst brutality.
Let’s just pause and have a chat about Guy Pearce for a second. After Memento he was bona fide leading man material. He’s hunky, he’s interesting. And yet he rocks up in strange roles. The weatherbeaten cop here, the tacitern lead in The Rover, Weyland in Prometheus. He hasn’t gone down the star route, whether by choice or the ins and outs of the hollywood system. But he is consistently interesting and just slightly weirder than you expect (without being a stone cold oddball). I think Robert Pattinson might have taken notes from his career trajectory.
Anyway, J’s uncles are a combination of inspiring (cheers, Joel Edgerton), maverick (cheers, whatseryername from the 300 sequel), and creepy (cheers Ben Mendlesohn). His girlfriend’s family are a great contrast, a clear family unit but not saccharine. And over it all Jackie Weaver’s matriarch presides. She’s a Lady Macbeth figure with the hard edges tucked away so far that you forget all about them. And when she brings it, it’s in such a matter of fact style that it’s all so perfectly natural.
I liked The Rover, David Michod’s follow up film, very much too. Critics made loads of smug puns that sort of spoiled some plot stuff, so if you’ve not seen it do give it a watch, but don’t read too much about it first.
I am less scared of Australian films than I was before, but no less impressed.
We could stay paddling around in Australian waters, but with Joel Edgerton and Jacqui Weaver having made a number of international films maybe we won’t… It’s Tim’s choice, so who knows where we’ll end up.