BEAT

Australia, 2021, 97 minutes, Colour.

Rachel Carpani, Alexandra Jensen, Sebastian Szeszeran, John Wood.

Directed by Jye Currie.

To borrow from the title, this human drama is both upbeat and downbeat. And, further with the title, there is an important heartbeat, and significant musical beat, and the path from park to a homeless shelter under a bridge, the beat of the young man who goes busking while playing his keyboard.

This is a first feature film by Jye Curry, from Newcastle, who made his film there over a 2 to 3 weeks period in 2021, able to use many of the features of the city as locations. Something like a personal homage to his city. Part of the action also takes place in Sydney.

There are many heartwarming moments in the film, engaging the audience with the central characters. But, as the plot progresses, some of the action is quite provocative, some moments alarming.

The film is telling two stories at once, intercut, the journey of Kev, the young homeless man, too young to be homeless, unfortunately, and one wonders what his background story is, his mental condition. But he is kindly, but, often alarmingly, insulted, physically bashed and kicked, told to get out of the way and his money cup kicked out of his grasp. The other story is that of Ellie (Alexandra Jensen), involved in a drastic accident, on the list for a heart transplant, finally receiving one and gradually restored to health.

The story is that of a pianist, suddenly talented it would seem, enheartened by her surgery and the donor. We see several wonderful weeks in her life, playing in a local club, her devoted mother exhilarated, the talent scout with seemingly miraculous offers, concerts for the wealthy in Sydney… But, with her physical and emotional condition, experiences of loneliness, some moments of dependence, some mysterious consequences after her transplant, physical, emotional, imaginative.

Class issues, disparity of wealth, affluence and homelessness emerge as significant themes from Beat, Kev and the abuse that he experiences, malicious violence as well as heartless thoughtlessness. And, the challenge to Ellie, performing for society audiences at their mansion homes.

Many audiences will enjoy the many piano interludes.

Audiences will find that the screenplay makes these characters attractive despite their situations. The actors embody their characters, Sebastian Szeszeran as Kev, Alexandra Jensen as Ellie miming complex piano playing with energy and skill. Rachel Carponi is the sympathetic mother, trying to cope with work, earning a living, supportive of her daughter in her surgery and aftermath. For older TV audiences, think Blue Healers, John Wood appears as the sympathetic surgeon.

Towards the end, audiences will realise how the story is being told, the purpose of the intercutting of the two journeys (more astute viewers may realise this earlier!).

And, just as the audience is coming to terms with the fate of the two characters, there is another provocative shock. Which means by the final credits, there has been pleasure, entertainment, music, character portraits – and some dismay at what suffering will bring.

1. Title? Upbeat and downbeat?
2. The heartbeat and heart transplant? The musical beats? And the beat of the homeless man and his trek around Newcastle?
3. The writer-director from Newcastle, home town, lovingly portrayed, the various sites of the city? The action in Sydney, the postcard images, Harbour Bridge, Opera house…? Hotels, wealthy mansion and concerts, the concert hall?
4. The significance of music, Kevin, his instrument, wheeling it around, busking and playing? His melodies? Ellie, the effect of the transplant, performance in the club, the talent scout hearing, auditioning her, the concerts in Sydney, the final concert? Skilled playing?
5. Kevin’s story, little background, physical condition, mental condition, busking on the streets, sleeping in the streets, rude passers-by, kicking his coin cup, the bullies and bashing him? Susan, giving him the money, buying the pizza, going to the park, giving some to his friend? The philosophical discussion between his friend and himself, meaning of life, death? The pathos of his being bashed to death?
6. Ellie’s story, her age, the accident, living with her mother, her mother’s concern? Her mother at the diner, work, the patrons and criticism, the kindly boss? Call to hospital? The sympathetic surgeon and explanations? A heart transplant, the first heart unsuitable? The news of the suitable heart, the surgery? Ellie’s new consciousness?
7. Ellie and her friend, going to the club, the karaoke, her performance, the applause, the agent? For the audience watching the film, the seeming impossibility of her playing so well?
8. The agent, the audition, Susan going with her daughter? The offer for the concert in Sydney? The conditions? The entrepreneurs?
9. Ellie, the agent, her always at her phone, business? The hotel and accommodation? The concerts and the applause? The arrangements, the audiences? But the lonely effect on Ellie, being ignored by the agent, the confrontation?
10. Liam, meeting Ellie, the attraction, her loneliness, the cocaine, her experimentation, sexual encounter? The effect on her? Hallucinations?
11. The final concert, her condition, her mother coming, the confrontation with her mother, the agent? Her performance and the applause?
12. Jolting ending, Ellie and the knife, life, the heart, meaning, meaninglessness?