Matt Shea
RubySoho
Morgan Bell
Cibbuano
David O'Connell
Mountain Fog
Monkey Grip
January 29th 2010 03:12
by Matt Shea
Writer-director Ken Cameron took an interesting approach to developing Helen Garner’s novel, Monkey Grip, for the big screen: baffled as to how he was to attack the book’s distinctive style of prose, Cameron scripted the entire work – narration and all – before cutting it down to something resembling the length of a feature film. A mammoth task, it took over two years to complete, Garner providing support along the way by suggesting bridging scenes that would account for the original material Cameron cut from the screenplay.
It’s an interesting way to approach the development of a feature script, and perhaps explains some of Monkey Grip’s weaknesses. This film about a recently divorced mother in her early thirties (Noni Hazlehurst) who falls into a damaging relationship with a heroin-addicted actor (Colin Friels) is hamstrung by its shoehorned nature and an overarching narration that seeks to provide economy, but instead robs the characters of much of their depth.
Monkey Grip, like many other Australian films of the 10BA years, is set around the Australian music scene, and in particular the post-punk milieu of early 80s inner-suburban Melbourne (although the majority of the film was in actual fact shot in Sydney). And it’s here that the film suffers another major setback: the performers are invariably too old for their roles. According to Monkey Grip, Melbourne’s Little Bands movement was piloted almost solely by musicians in their mid-30s. It may seem minor, but it’s an aspect of the film that quickly grates with the viewer.
Thankfully, Hazlehurst’s struggling writer character, Nora, is one of the exceptions to this particular rule, her age making sense in the context of her divorce and her daughter, played by a very young Alice Garner (Helen Garner’s daughter). Hazlehurst is a classy actress and through her subtlety manages to imbue Nora with more depth than she was written with – it’s a great performance and helps immeasurably with the enjoyment of the film.
Friels seems like he could be another victim of the casting bug, but manages to sell the junk-addicted actor of Javo with sufficient edginess and charm to make him sympathetic. What Javo doesn’t possess, however, is a large amount of depth, and this is where Nora’s ever-present narration hurts the film.
Cameron has allowed his main character to tell the audience things that he really should be showing them. Hence Javo is continually described as being volatile and borderline dangerous, but we hardly ever witness this behaviour. Likewise, the relationship between Nora and Alice is unexplored and at one juncture you barely see the share-house tension that Nora tells us is her inspiration for moving on to a new flat.
The adaptation also suffers a typical problem in being overpopulated. A difficulty here is the story’s widescreen approach to the free love that floated about the music scene on which it focuses. Thus, as Nora and Javo move from one lover to the next – all of who are already friends or acquaintances – the film becomes laden with half-baked characters.
Helping lift Monkey Grip is the music that runs through it. Chiefly provided by The Divinyls (Chrissy Amphlett even has a supporting role), Cameron and cinematographer David Gribble make an excellent fist of capturing both the live energy of an inner-city small club gig as well as the smoky, sweaty pressure of a never ending recording session. It gives the film some much needed energy and authenticity.
But at the heart of Monkey Grip is Hazlehurst. Without her characterisation (for which she won an AFI Best Actress Award) the film wouldn’t be nearly as successful as it is. Both she and Friels also deserve credit for the frankly handled sex scenes scattered throughout the film’s running time – these moments of lovemaking being almost the complete opposite of the drama-destroying narration, communicating without dialogue much of the addictive affection that runs between Nora and Javo.
Monkey Grip ultimately isn’t as successful as it could have been, but it’s the smaller elements that lift the picture up, making it a mildly worthwhile way to spend an hour and a half.
I say: A competent but unexceptional feature, lifted mostly by a fine actress in the central role.
See it for: One of Australian music’s great icons, Chrissy Amphlett, in a supporting part.
'Monkey Grip' is part of the Literary Adaptations: Australia - Volume 2 box set, now available from Umbrella Entertainment
Writer-director Ken Cameron took an interesting approach to developing Helen Garner’s novel, Monkey Grip, for the big screen: baffled as to how he was to attack the book’s distinctive style of prose, Cameron scripted the entire work – narration and all – before cutting it down to something resembling the length of a feature film. A mammoth task, it took over two years to complete, Garner providing support along the way by suggesting bridging scenes that would account for the original material Cameron cut from the screenplay.
It’s an interesting way to approach the development of a feature script, and perhaps explains some of Monkey Grip’s weaknesses. This film about a recently divorced mother in her early thirties (Noni Hazlehurst) who falls into a damaging relationship with a heroin-addicted actor (Colin Friels) is hamstrung by its shoehorned nature and an overarching narration that seeks to provide economy, but instead robs the characters of much of their depth.
Monkey Grip, like many other Australian films of the 10BA years, is set around the Australian music scene, and in particular the post-punk milieu of early 80s inner-suburban Melbourne (although the majority of the film was in actual fact shot in Sydney). And it’s here that the film suffers another major setback: the performers are invariably too old for their roles. According to Monkey Grip, Melbourne’s Little Bands movement was piloted almost solely by musicians in their mid-30s. It may seem minor, but it’s an aspect of the film that quickly grates with the viewer.
Thankfully, Hazlehurst’s struggling writer character, Nora, is one of the exceptions to this particular rule, her age making sense in the context of her divorce and her daughter, played by a very young Alice Garner (Helen Garner’s daughter). Hazlehurst is a classy actress and through her subtlety manages to imbue Nora with more depth than she was written with – it’s a great performance and helps immeasurably with the enjoyment of the film.
Friels seems like he could be another victim of the casting bug, but manages to sell the junk-addicted actor of Javo with sufficient edginess and charm to make him sympathetic. What Javo doesn’t possess, however, is a large amount of depth, and this is where Nora’s ever-present narration hurts the film.
Cameron has allowed his main character to tell the audience things that he really should be showing them. Hence Javo is continually described as being volatile and borderline dangerous, but we hardly ever witness this behaviour. Likewise, the relationship between Nora and Alice is unexplored and at one juncture you barely see the share-house tension that Nora tells us is her inspiration for moving on to a new flat.
The adaptation also suffers a typical problem in being overpopulated. A difficulty here is the story’s widescreen approach to the free love that floated about the music scene on which it focuses. Thus, as Nora and Javo move from one lover to the next – all of who are already friends or acquaintances – the film becomes laden with half-baked characters.
Helping lift Monkey Grip is the music that runs through it. Chiefly provided by The Divinyls (Chrissy Amphlett even has a supporting role), Cameron and cinematographer David Gribble make an excellent fist of capturing both the live energy of an inner-city small club gig as well as the smoky, sweaty pressure of a never ending recording session. It gives the film some much needed energy and authenticity.
But at the heart of Monkey Grip is Hazlehurst. Without her characterisation (for which she won an AFI Best Actress Award) the film wouldn’t be nearly as successful as it is. Both she and Friels also deserve credit for the frankly handled sex scenes scattered throughout the film’s running time – these moments of lovemaking being almost the complete opposite of the drama-destroying narration, communicating without dialogue much of the addictive affection that runs between Nora and Javo.
Monkey Grip ultimately isn’t as successful as it could have been, but it’s the smaller elements that lift the picture up, making it a mildly worthwhile way to spend an hour and a half.
I say: A competent but unexceptional feature, lifted mostly by a fine actress in the central role.
See it for: One of Australian music’s great icons, Chrissy Amphlett, in a supporting part.
'Monkey Grip' is part of the Literary Adaptations: Australia - Volume 2 box set, now available from Umbrella Entertainment
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