GODDESS
Australia, 2013, 96 minutes, Colour.
Laura Michelle Kelly, Ronan Keating, Magda Szubanski, Hugo Johnstone Burt, Dustin Clare, Pia Miranda.
Directed by Mark Lamprell.
Goddess is a 21st century Australian musical. This description should indicate whether an audience would like it, respond well to it, or not. It is definitely a film for those who like colorful comedies, singing and dancing. It is definitely not a film for those who do not warm to musicals at all.
The film has the advantage of a lively performance from Laura Michelle Kelly, star of Mary Poppins on London’s West End. She has a charming vitality on screen, in performance, in singing and dancing, not without touches of irony. The film also has so-far, only acting role for former Boyzone group member and a popular singer all over the English-speaking world, Ronan Keating. His is the supporting role, the husband who is away from home, his particular work being environmental, sending him to Antarctica for whale exploration and recording whale sounds.
One reason for seeing the film could be the performance by Magda Szubanski. She is a long way from Babe or from Sharon visiting Kath and Kim. Here she is the haughty, ultra-haughty advertising executive who instills fear in all her staff. She enjoys playing the grand dame.
Laura Michelle Kelly is Elspeth, wife of James (Keating) and mother of the most obstreperous twins you are likely to see on screen. Her husband gives her a cam-recorder which she places in her kitchen – which leads to her singing to camera, having a patient supermarket friend set up her connection for broadcast, finding she has some fans and eventually getting the call to come from Hobart to Sydney to be the ‘goddess’ in on-line ads for ladylike computers.
There is some satire on the world of advertising and standards, but Elspeth discovers how ambitious she is. But, lots of complications arise, including nannies for the twins, unexpected returns by James, her friends in Hobart watching and seeing more than Elspeth intended on screen…
It’s all very light, songs popping up all the time, especially Elspeth at her sink, where she can thing…
The satirical song about CEO bitches does work well and Elspeth plays it as a corporate femme fatale.
Some cinema chains are advertising Girls Night Out with special screenings of films with goody bags and refreshments. Goddess is a Girls Night out flick!
1. The appeal of the film? For females sensibilities? Male sensibilities? The differences?
2. The appeal of the film as a musical? Or not? Score, songs, performances, choreography, themes? Inserted into the action of the film and for development of character?
3. The Tasmanian settings, the house, the countryside, the local town? The contrast with Sydney, hotels and affluence, offices, the opera house, the bridge, Circular Quay, the Harbour sequences?
4. The style of the choreography? Stage musicals? Television musicals? The choreography in the kitchen, at home, in the office, in the fantasy world? Costumes and décor?
5. Elspeth and James? The years of marriage? The twins? Growing up in the UK, the decision to move to Australia, the motivations? James and his work in Antarctica, the Wales, under water, the soundings, the sounds, his work for the environment? On the ship? Elspeth at home, with the twins, their over-energy? The range of mischief and problems, the boy with the wings, the boy and his lack of toilet training, continual mess, at home, the supermarket, the reactions of the shoppers? Elspeth’s exasperation?
6. Love, tension, the deal between the two as regards careers and care of the children? Elspeth going to Sydney? The employment of nannies? Mary and her playing with the children? Her severity when James turned up? The new nanny, success, playing with the children, the massage for James, the flirting, and everybody watching on their computers?
7. The camera, the gifts, Elspeth putting it in the kitchen, working her computer? Neil and his work in the supermarket, turning up, his expertise with computers, his own company, programming the camera and the computer? Later buying Elspeth the scent? Elspeth and her singing, no hits on the site, meeting the women in the park, wanting to talk with them, their criticisms, reluctance, welcoming her?
8. The increasing number of hits, her kitchen song, the collage of the range of audiences, men and women, different nationalities? Ralph and his watching, the staff, their problem with finding a goddess? Showing the program to Cassandra? Her agreeing with their choice?
9. The phone call to Elspeth, Sydney, Cassandra and her spiel, the product, the advertisements, on web sites? The advertising program? Cassandra in herself, Magda Szubanski and her character, uptight, her black clothes, makeup, hair styles, affected manner, people being afraid of her at the office? Her interactions with Elspeth? Pleasant, laying down the law, the fixed contract, her words about her own life, husband, career, ambition? The song satirizing the CEO bitch?
10. The filming of the different sequences, Elspeth singing, the different situations, costumes? National and ethnic styles? The photo session, her hesitance, Ralph discussing it with her, Cassandra and her demands? The Botticelli image? Elspeth and her ambition, being persuaded, the production company applauding?
11. The people watching, her friends, James’ return, Mary hitting him, in the kitchen wearing only the apron, the reactions of the viewers?
12. Elspeth watching, changing from herself to the camera in the kitchen? Discovery of the truth? Her being upset, the phone call, James returning to Antarctica?
13. The contract, the options, her hesitation, Ralph coming to the hotel, her clash with Cassandra, Ralph’s support, her going home?
14. Home, the whale sounds, the warning to James from one of the friends? The couple talking? The nanny and the wings of the boy, the public toilet training for the other?
15. The final show, the songs, the choreography, everybody participating?
16. The appeal? The message about marriage, home, children, housekeeping, careers?
