SIRENS

Australia, 1994, 90 minutes, Colour.
Hugh Grant, Tara Fitzgerald, Sam Neill, Elle Mac Pherson, Portia de Rossi, Kate Fischer, Pamela Rabe, Ben Mendelsson, John Poulson.
Directed by John Duigan.

Sirens is very beautiful to look at, appropriate for a film about a painter. The focus is on Norman Lindsay, his home in the Blue Mountains of New South Wales, his painting, his painting of models, especially nude models, which shocked some of the establishment and the churches in the early part of the 20th century. This theme of expressions of art and prudishness are taken up in scenes with the Bishop of Sydney, with the character of the British clergyman who comes to Australia and wants to stop exhibitions Lindsay's work. It comes to a head when the clergyman's wife is caught up in the atmosphere of the Lindsay household, of the atmosphere of sensuality and sexuality, and changes her attitude.

The film was done with the lightest of touches, a witty script, pleasing performances, and some humour at the expense of the English and their perspective on Australia - with comically exaggerated scenes of all the flora and fauna scurrying across the screen, potentially terrifying the English visitors.

Hugh Grant is the minister, the film being made at the same time as Four Weddings and a Funeral. Tara Fitzgerald is his wife. Sam Neill embodies the controversial Norman Lindsay and Pamela Rabe is effective as his wife.

John Duigan himself appears as a clergyman giving a sermon. Duigan has always been interested in social and religious questions and presents them here, Australian questions but done in a light and comic context.

1. A piece of Australiana? History, society, sexuality, religion in the early part of the 20th century?

2. The Blue Mountains settings, the Lindsay home, the countryside, the mountains and the valleys, the small town? The musical score, the melodies?

3. The blend of realism, magic realism, surrealism, especially with the animals, the pranks, the headlines of the newspapers, the telling of tall stories?

4. The film was described as droll and piquant, its tone, the serious subjects, the light touch?

5. The English perceiving Australia, the countryside, the landscapes and the animals, the people? And vice-versa?

6. The re-creation of the period, Australia in the 1930s, the English tradition, the décor, clothes?

7. The character of Normal Lindsay, the historical background, the facts about his life, art, attitudes, influence? His focus on sex and sexuality, feminine beauty? The religious critique? His critique of Christianity? A kind of neo-paganism? Eros and the erotic? His household with his wife, the children, the models who lived there? Lindsay as a character, as a catalyst for people's ideas? The observation of Lindsay and his critique of Australian attitudes?

8. Mr and Mrs Campion, the British stars performing these roles? Their manner, their particularly British tone, nicknames like Piglet, their acting in a very proper manner? Campion as a clergyman? The encounter with the Bishop of Sydney, the art exhibition, the discussion of Lindsay's paintings? The decision to make a protest? His mission to visit Lindsay? The experience of Lindsay himself, the household, the challenge of his attitudes, the challenge to primness and prudery? His denial and statement that he was open-minded? His relationship with Estella, the marriage, love? The models, his concerns, the table discussions with Lindsay, for example the discussion about Russia? His speaking for his wife? His attitude towards the models, Giddy and her concerns? Devlin and his suspicions? The secrets of the mountains? The artwork and the issue of suing? The transformation, his bewilderment about Estella's behaviour? Leaving, his having learnt something from the Lindsays, the behaviour in the train and the people observing him and Estella?

9. Estella and her attitudes, feminine, British, curious but repressed? The discussions with the women, her listening and responding? The tall stories? The models in the room? Their frankness? Her watching Devlin, seeing him naked, the attraction? Watching, his throwing the knife? The meals and the discussion, her participation, her silence? Giddy and her concern, the substitution with Devlin? Estella's fantasies and dreams? Naked in the church, in the pool with the women? Her posing for the painting? Her husband's shock? Her being transformed in attitude? The train ride indicating the change?

10. Rose Lindsay, as a wife to Norman, her place in the household, the children? Her posing for her husband? Commonsense? Sensual, her relationship with the Campions? Her final presence with the models naked on the mountaintop?

11. The models and their work, real and imaginary, the paintings and the statues - and coming to life? Their discussions, hopes? Their relationships? Going out with the lads, the pub and not being served? The games with the children? The ending and their being on the mountaintop as sirens?

12. The town, the Campions' arrival and the information, the lads in the pub, the old man saying "Fuck you" all the time? Not being served? The picture of the parents, the children playing games? The suspicions of the Lindsay household?

13. Devlin, his blindness, the stories about him, his being seen naked, the sensuality, his relationship with Estella? With Giddy?

14. The issues of religion, its role in society, its past influence? The place of women, Eve as temptress, the suspicion of the body, priests, Elle MacPherson? wondering about women being pope? The critique of the church? Their going to church, the minister and his sermon?

15. A film like this and its contribution to the discussion of issues?

16. The significance of the name, the models as sirens, seductive and transforming?