Introducing The Dwights screenwriter Keith Thompson, a veteran of Australian television, no doubt had the best of intentions when he wrote a starring vehicle for acclaimed British actress Brenda Blethyn (Oscar nominated for both Secrets And Lies and Little Voice.)
Blethyn's performance as past-her-prime British stand-up comic named Jean Dwight struggling for a comeback as she raises two teenage boys on her own in her adopted home of Sydney, Australia, is the only real reason to check out this otherwise lightweight film.
Every time Blethyn is on the screen, she steals the show, both from her younger co-stars (Aussie newcomers Khan Chittenden as her eldest son Tim and Emma Booth as the new object of his affection Jill) and older contemporaries (including Aussie vet Frankie J.Holden as her estranged husband who works as a grocery store security guard but still lusts for a singing career.)
One notable exception is Richard Wilson, so good as Guy Pearce's younger brother in the gritty noirish western The Proposition, who plays Jean's younger brain-damaged son Mark.
He's a funny, lovable and very watchable character and is up to the challenge of acting opposite Blethyn, scene-for-scene.
The scenery-chewing role of Jean Dwight was, in fact, based on Thompson's own mother, who had a dance band when he was growing up in England.
Introducing The Dwights is Thompson's first feature, although he has been a script editor on over 20 features, including the outstanding Japanese Story, starring Toni Collette.
Unfortunately, by making the movie -- directed by Cherie Nowlan (Thank God He Met Lizze) -- both a comedic coming of age story and a family drama, Thompson ultimately weakens the end result.
Jean's story, whether she's feuding with a neighbour, working nights as a standup, and days in a cafeteria or coaching young singers, or just singing along to Janis Joplin, is the more interesting storyline here, particularly given Blethyn's comic timing and hilarious delivery.
Yet, the young lovers tale featuring Tim and Jill's on-again, off-again relationship as Jean meddles in the mix, constantly detracts from that stronger plotline and feels too forced more often than not.
Booth is also the film's one truly sour performance despite her blond good looks and lithe form -- she's a former model -- as she bursts into tears so often that after the third session of waterworks, she just gets tiresome.
No one who works at Midas, as her character does in the film, can be this emotionally fragile can they?
(This film is rated 14-A)
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