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Plot: The story follows a man who returns home to discover a long-buried family secret, and whose attempts to put things right threaten the lives of those he left home years before. Runtime: 96 mins Release Date: 17 Mar 2016
The Daughter is a one of a kind movie (by topher-social)
this movie was simply amazing the plot was perfect everything unfolds at just the right moments,it always leaves enough mystery and wonder to keep you wanting to know more until you get to the end and the writer just unloads everything onto the audience.the actors were spot on superb acting for every single character even the background actors were so good it was like watching real life unfold in front of your eyes and the directing well that is what made this movie what it is didn't it,i am very picky about how a movie is directed and Mr Simon Stone my hat is off to you sir all around <more>
great job on everyone's part this movie is a must see for everyone.to everyone that took part in this movie thank you for this gem of a film.
The Daughter is a drama about a few days in the lives of two Australian families living in a rural timber mill town. The mill owner is taking a new wife just as he announces the closure of the mill. His son Christian flies in from the US for the wedding and reconnects with his childhood friend, Oliver. Oliver, a mill worker, lives with his wife, child and his decrepit father. An uncovered secret threatens to shatter the lives of everyone.The themes are of honesty and family connection as the story, immediately sincere with plenty of light moments, slowly builds into deadly seriousness.With <more>
pervasive and ominous masculine anger and alcoholism, The Daughter is a note-perfect portrayal of Australian small town life. Everyone makes mistakes and they can have devastating consequences for others. Damaged people are dangerous. The storytelling is masterful, a huge credit to writer, director Simon Stone and to Andrew Commis' creative cinematography. The editing is exquisite, courtesy of Veronika Jenet The Piano, Rabbit-Proof Fence, Strangerland, Black Balloon, Angel At My Table, Snowtown .There are half a dozen great characters and the ensemble acting brings out the very best in both Geoffrey Rush and Sam Neill. Miranda Otto is magnificent. American Paul Schneider evokes the danger of the damaged man as does Aussie TV actor, Ewen Leslie as his long-lost mate.Young Odessa Young as Hedvig is the central character. She ably commands everyone's attention and seems bound for stardom.The Daughter is alternately poignant and powerful; a life-and-death drama, free of any suggestion of the theatricality of the play that inspired it, Henrik Ibsen's, The Wild Duck.This is daring, fierce, and rewarding cinema; as good as it gets. A must see. 5 starsAndrew Bunney, Let's Go To The Pictures, Three D Radio, Adelaide
I have just finished watching this movie and am impressed by, quite simply, every aspect of it. It is fraught. The acting is superb; the script taut. Rarely these days will I give a film ten out ten, but this one deserved it. At the end I was left feeling bereft ... totally drawn into the emotional maelstrom of the families.
Excellent all-round Aussie Production (by edhart08)
I was lucky enough to see this film today at the Sydney Film Festival....adapted from Henrik Ibsens late 19th century play ''The Wild Duck'' but totally rewritten and retold into a modern Australian story set,maybe in the logging areas of Tasmania but actually filmed around the very atmospheric Snowy Mountain towns of Tumut and Batlow. The acting is superb, particularly the wonderful Ewen Leslie who just gets more magnificent in each role he takes on...Script and cinematography add to the overall brilliance of this terrific Jan Chapman production....a must see for all lovers <more>
of great Aussie films both here and overseas...I cant wait to see it again on its general release
The Daughter: why would you call your daughter 'Hedvig'? (by niutta-enrico)
Henrik Ibsen has been a great Scandinavian playwright, very well known until the 80s in most Western Countries. Currently his great works are played less often and the man is less known.So I won't be surprised if someone watched the present film unaware that its beautiful plot was taken from one of his masterpieces: 'Vildanden', published more than a Century ago. The young Simon Stone showed a great deal of talent and very good taste in changing the story to make it more interesting and fitting with modern times and Australia . Until I heard the name 'Hedvig' only name <more>
left unchanged from the original play, a nice touch I didn't recognize the source.He made a very clever choice: on a soundest plot he built a catching movie, full of passion and realism, enhanced by great performances.I won't tell anything about the changes he made: for those who know the original, you won't know if the ending is changed. For the others: enjoy.
When a secret long hidden makes its way out... (by Reno-Rangan)
A very surprising Aussie film. Not all the Australian film makes big at the world stage. So this film was not known to many people, but I am lucky to watch this. The film was based on the Norwegian play called 'The Wild Duck'. It was adapted several times for the screen, but this is the latest and a modernised version. The first film for the director and he was amazing in handling the screenplay as well. Obviously I did not know anything about the film. The cast looked good and also the storyline, so that's my reason to watch it. It began like a simple drama about a family who are <more>
going through a difficult time after the wood mill was shut down in their small town. Their's daughter, Hedvig, who is studying in the high school worries that she's going to lose her boyfriend if they move out of the town. That's not it, the narration had layers like from other people surrounding this small family and their perspective too has a big impact on the storytelling.Not just this family, but many from the town were out of the job and that leads to some unexpected decisions. Another family who ran that wood mill for nearly a century, welcomes their son, Christian from the United States who is having a tough time with his girlfriend and also to attend his father's wedding. He accidentally meets his childhood friend which is actually a Hedvig's father. They spend lots of time together and that's where a new issue arises. Christian reveals some hidden truth for the decades between their two families. Everything breaks loose and becomes impossible to fix it. From all this, the daughter is the one who directly get affected, but to learn how is why you should watch this film.You won't immediately understand the meaning of the title. The film very smartly progresses like bit by bit with lots of suspense around. The best part is, it never reveals the actual secret at any length of the film, but still the viewers going understand the situation very clearly. That's really amazing, particularly the writing being so clever. I don't know the original material which is more than a hundred year old, but I loved this to tell the story in a smart way."You do not need to be scared of the truth."The characters were the best part of the story. The switching time was excellently done. Like the whole film is not intended to deal with one particular issue, but multiple. Everybody had something to deal with, some were personal and some were concerned for their whole family. The story always engaged with details, so there's no time for relaxation for the viewers. In the first half it succeeds to keep everything neat, despite the story developed from different angles. Because the end pulls them all together to conclude the tale on high. High mean, neither happy or sad, the timing when the twist takes place was a perfect setting.If you are a melodrama fan, this must not be missed. I haven't seen a good tearjerker for a long time and then I found this one unexpectedly. I did not know the film would turn this way, but that's one of the reasons why I liked it a lot. The twist at the final act was kind of predictable if you were focused enough in the early part, but nobody gets a clear picture of how it all ends. That's the point. Despite how the film characters react when the suspense was revealed, we have our own respond too, but unable to deliver where it requires. That is funny, but the film gets very serious towards the final segment and you get no time to react, you will be like unmoved till the end credits roll up. But sensing a tragedy is certain.I recently saw 'Fathers & Daughter', that I anticipated something what this film offered. The story lines are completely different from these two films, but that father and daughter relationship thing, I liked very much from this one. Especially the emotions are the most crucial to narrate the tale and this film was way better in that perspective. Comparison between these two titles only on the sentimental side, other than that it's not fair to bring a debate on them. Anyway, both are the fine melodrama.This film definitely would appeal strongly to the family audience and I highly recommend it to them. There's no strong nudity or the sex scenes, but thematically it goes some length to record the required event. Other than those couple of parts, this is a film for everybody. Very satisfied with the overall film. I might not consider it my favourite, but very close to be called one. Like I said the story was thoroughly written, so I'm feeling this film won't go unnoticed. I am not talking about it would find its audience, but the remakes. European, Korean, Bollywood, even a Hollywood version might come. So fingers crossed, but I suggest this one to watch if you are convinced with my review.8.5/10
optimistic update of Ibsen's The Wild Duck (by maurice_yacowar)
Simon Stone's The Daughter is "inspired" by Ibsen's The Wild Duck but it's radically different. Stone gives the Danish Nietzschean tragedy a contemporary Australian setting with an upbeat spiritual ending.The basic plot holds. A wealthy industrialist's son Christian returns from self-exile for his father Henry's marriage to his much younger housekeeper. Christian's mother killed herself over Henry's affair with an earlier Housekeeper, Charlotte. Now Christian learns that Charlotte married his best friend Oliver who thinks the daughter Hedvig she had by <more>
Henry is his. Whether out of bitter despair over his own romantic loss or out of wrong-headed idealism, Christian reveals the long buried secret. His friend is revulsed by the wife and daughter he has so profoundly loved and rejects them. Hedvig shoots herself.Stone makes significant changes. His Hedvig frees the duck that Henry had shot down and Hedvig and her grandfather Walter nurtured. Ibsen's Hedvig agrees to her father's demand she put the duck out of its misery, then shoots herself instead. Stone's Hedvig is herself a creature of nature. Her science fair project is a study of amino acids, in and beyond the human body. Her eagerness for sex confirms her natural appetite, as she invites both her young boyfriend and Christian. Her sexual initiation in the forest is enigmatic. The boy had earlier postponed this First Time until her birthday. In the event, he -- as university registrars put it -- withdraws in good standing and runs off. Perhaps he felt guilty about not having told her his family was moving away. Perhaps her virginity -- she hurts, despite her claim to experience -- and the unaccustomed condom embarrassed him with a premature ejaculation. In any case, the scene presents him as a modern, sensitive young man, The New Man, in contrast to the bullish self indulgence of Henry and his generation.By renaming Ibsen's Gregers Christian, Stone implies another contrast, between Henry's pagan self indulgence and the new man of conscience. Christian urges Charlotte to reveal her secret to her husband: "The truth can't hurt you." But this son can't escape his father's hold, as his retreat to drink and drug reveals. Embittered that his woman has dumped him, Christian may not be as noble as he thinks when he shatters his old friend Oliver's happy family. The destructive power of the father is visited upon the son, for all his moral pretensions.Henry has ruined the family. He let his friend and partner Walter go to jail for their joint scheme. Giving him a pension and helping Oliver buy his modest house is scant compensation. But his destruction of the family is incomplete until his possibly well- meaning son shares his destructive truth. For that even Henry's promise of a trust fund for Hedvig cannot compensate. The film's last shot poses an ambiguity beyond the play's solid suggestion that Hedvig killed herself. The medic has said she has a chance. The last shot shows her in radiant close-up, eyes closed. Does she recover? Does she die? We're left to our own conclusion. Modern audiences will leap to the hope of a conventional happy ending.But Stone directs us to a more complex conclusion. The radiance makes her appear angelic, confirmed by the religious chorale. The implication is that she dies but in a transcendent way. She returns to her quintessential unity with wild ducks, animal appetites and amino acids. Her wounding has shaken her effective father out of his mad self denial, so he resumes his love for her and his wife. And she is finally freed from her brute father Henry's clutch. In this delicate balance Stone respects Ibsen's tragic vision but allows for the alternative encouragement, the view that we don't live in an uncaring brutal universe but in a world of material and spiritual interconnection.
Gripping and Moving Australian drama (by t-dooley-69-386916)
Henry Geoffrey Rush is the master in a town where his logging company is the main attraction. His wife has passed away long ago and so he decides to remarry. This coincides with his decision to close the logging factory due to falling sales. The town is imploding but he wants to pull out all these stops for his wedding day.His estranged son, Christian, has also returned from America and immediately reconnects with old friends and this includes Oliver and his wife and daughter. He has long born a grudge with his father and as old tensions resurface so do nagging questions from the past. It <more>
is the answer to those questions that are the setting for the calamity of the future and a delve into the darkness that the past can often hold.This is a smouldering watch, all the performances are brilliant especially Odessa Young as Hedwig and Ewen Leslie as Oliver. We also have a fine performance from Rush and the ever reliable Sam Neil – both acting royalty in Australia. It keeps the tempo up almost from the start and is a credit to Screen Australia for investing in such a commendable piece of cinema.
Near flawless but not a ride for the faint of heart (by anthonyjlangford)
Much has been said already; slick direction, outstanding performances from the entire cast, especially those we are unfamiliar with on the screen and a brilliant story, 140 years old, that cements as the bed rock. Rush is quite deliciously understated .I only have two objections. The editing style is unique dialogue preceding the scene, or carrying over other parts that is not natural but interesting . However I feel the director relies on it too heavily, passing up the potential for good drama. This is especially noticeable in a confrontation between Sam Neill and Geoffrey Rush. The <more>
tension is passed over in favour of technique. An error.The other objection is that the director claims the play 'Inspires' the screenplay. Despite the changes, it's the same story. It should be 'based upon'. Its an obvious flex of ego.Minor points aside, this a top notch, captivating drama in all regards, showing the complexities of human relations, and that truth is not always the right option. Ah, the intricate web we often unintentionally weave.