Review of South Solitary (2010) by Stewart S — 25 Jun 2011

Charming, subtle, and endearing, South Solitary is one of those little Australian films that delights in telling a good story. Set in the 1920's, Miranda Otto plays Meredith Appleton, a young unmarried woman who arrives on an isolated island with her uncle, who has taken up the post of the new lighthouse keeper. She finds the island populated with a host of rather idiosyncratic adults and headstrong children.

Shirley Barrett writes and directs this, and it is filled with the gentle, wry humour of her previous effort, Love Serenade. She is mistress of her story, and lets it unfold slowly - we gradually come to learn of Meredith's unfortunately lewd past that has led her here, and the various histories of those on this small island, including Martin Csokas' war-damaged lighthouse keeper, Jack. Whilst not a great deal happens extrovertly, there is a wealth of emotions roiling beneath the surface of our characters. Barrett peels them out deftly in subtly nuanced scenes, often using the inclement weather as precognitive metaphor. The script is beautifully moderated, as a series of events strip Meredith of her comforts and leave her to the mercy of a broken, socially inarticulate man.

Miranda Otto is delightful as Meredith, always presenting outward positivity even when nursing inner hurt. Martin Csokas' dour, moody keeper, Jack, is a wonderfully sustained performance, and ultimately sympathetic. Barry Otto surprisingly plays against type as Meredith's stern, regimental uncle. And Essie Davis is curt and sharply insinuating.

Barrett handles the narrative with precision, and peppers the film with lovely comic visual cues. Even when things become serious, there is a tenderness and glowing optimism to proceedings, helped immeasurably by Meredithâ(TM)s bolstering character. The film is also stunningly shot by Anna Howard with its lowering grey skies, moody seas, and solemn landscape. Mary Finisterre's score is also exactly right, being alternately cheering or laden with gentle emotion.

This is the sort of film that is hard to pull off without becoming mawkish or cheesy, and yet Barrett easily achieves a whimsical charm and yet a resonant drama. It also leaves us with hope. One of the most wonderful Australian films to have been made in the last few years.