The Eye of the Storm (2012)

Rather humourous in the first half the whole thing turns dramatic when the mother legs get closer to the tomb. I found this very well played.

Alright so it's a little 'literary' and the 70s it is ostensibly set in are a little wobbly (it's like you have to remind yourself periodically it's not contemporary), but this unusual family drama is full of surprises and twists as well as a rich and rewarding script that exposes and confronts all the petty squabbles and festering resentments of many a family, and which typically come to a head when a patriarch or matriarch (in this case, Charlotte Rampling) is on the way out. She is serene and strangely humorous, as if she's made her peace and has new insight, while children Basil (Geoffrey Rush) and Dorothy (Judy Davis) continue to clash egos, because both of them have them in spades! The kind of film you can revisit and probably find more each time.

THE EYE OF THE STORM has so much going for it that it seems a shame that it likely will not draw audiences in the theaters now that it has been released in this country. Thanks to Amazon's Video on Demand it can be watched in the home without the usual distractions of the theater audience more interested in texting and eating than in being willing to follow a strong story for two hours. It is another jewel of a film from Australia and perhaps in art houses it will be appreciated.The story is adapted by Judy Morris from the Nobel Prize winning novel by Patrick White (1912 -1990), an Australian author who is widely regarded as one of the most important English-language novelists of the 20th century. White's fiction employs humor, florid prose, shifting narrative vantage points and a stream of consciousness technique. In 1973, he was awarded the Nobel Prize in Literature, the only Australian to have been awarded the prize. 'The Eye of the Storm' is the ninth published novel by Patrick White and it is regarded as one of his best novels.The elderly Elizabeth Hunter (Charlotte Rampling), widow of a wealthy grazier, is nearing the end of her days in some splendor in her mansion in Sydney, Australia, and her two children have been summoned to her bedside. Her son Basil (Geoffrey Rush), once a leading actor on the London stage whose career is now in decline and her daughter Dorothy (Judy Davis), the ex-wife of a minor French aristocrat whose fractured marriage has ended with her only asset being the retention of her title of Princess, are motivated more by their possible inheritance than affection for the old lady. In fact Elizabeth inspires more affection in her nurses (Alexandra Schepisi, Maria Theodorakis), her solicitor (John Gaden) and her tragic cabaret- entertaining housekeeper (Helen Morse) than she does in her children. Dorothy in particular has cause to hate her mother for secrets not immediately revealed ('Dorothy was breathless with resentment for what she herself could no more than half-remember, had perhaps only half discovered - on the banks of the ocean'), yet it is she who gets closer to her mother as the film progresses. Elizabeth is a shrewishly controlling woman and her descent into dementia only reminds everyone involved with her of the damaged childhood, marriage and life she has led. The manner in which the story come sot an end is somewhat surprising and in many ways rewards the viewer for the attention it takes.The film is laid out in flashback scenes to manage the histories of all involved and the interior monologues that slowly build the full images of each f the characters and their inherent flaws. The acting is excellent, the cinematography is gorgeous, and the story is fascinating. If it doesn't exactly match the density of the novel by White then the ones who seem to be responsible of that are the director Fred Schepisi and the screenwriter Judy Morris. It is a tough story and if the viewer can maintain the level of concentration the film demands, then this is a most satisfying experience. Grady Harp

Patrick White put Australia on the literary map by winning the Nobel Prize for Literature in 1973, but his rich dense style did not make for a best-selling author. This film, an adaptation of White's novel, marks the first time anyone has succeeded in filming a White novel, though he wrote the screenplay for a curious piece directed by Jim Sharman, "The Night the Prowler" in 1977. Director Fred Schepisi said at the preview I attended that it was a challenge to film the allegedly unfilmable; if it had been easy it would have not been worth doing. Yet despite the style White was rather a theatrical author, and Judy Morris's screenplay accurately reflects White's mordant wit. His characters are acting their way through life and there is drama in almost every scene.Old Mrs Elizabeth Hunter, widow of a wealthy grazier, is nearing the end of her days in some splendour in her Centennial Park, Sydney, mansion, and her two children have been summoned to her bedside. Her son Basil, once a leading actor on the London stage whose career is now in decline and her daughter Dorothy, the ex-wife of a minor French aristocrat, are motivated more by their possible inheritance than affection for the old lady. In fact Elizabeth inspires more affection in her nurses, solicitor and housekeeper than she does in her children. Dorothy in particular has cause to hate her mother, yet it is she who gets closer to her as the film progresses.Schepisi manages to blend in the dark humour of the situation with the downbeat storyline. The cinemaphotograhy is gorgeous and the cutting, often without the usual establishment shots, wonderfully done, given the extensive use made of flashbacks – you instantly realise where the characters are. The book's interior monologues often appear as a single image in a single screen. The casting is such as Geoffrey Rush mentioned at the preview that he could not refuse – the very best of the Australian acting profession, though the pivotal role of Elizabeth Hunter is played with great panache by Charlotte Rampling. Rush plays Basil as a man who takes himself seriously, but can't persuade anyone else to. Judy Davis simmers as the disillusioned Dorothy , and John Gaden as Wyburd the family solicitor with a skeleton or to in his own cupboard is pitch perfect. Flora the day nurse, played by Schepsi's daughter Alexandra, is vividly realised, and there are good performances in minor roles also, including Helen Morse, unrecognisable, as Lotte the tragic housekeeper, and Colin Friels as a Labor politician on the make rather reminiscent of one Robert James Lee Hawke. The only odd casting decision is casting Melbourne locations as Sydney. Mrs Hunter's mansion is definitely not in Sydney and only a couple of brief scenes are shot in Centennial Park.It has been opined that "The Eye of the Storm" is Patrick White in drag, and it is true that there are some obvious personal aspects to the story - there is a lot of White's mother in Mrs Hunter. Set as it is in the early 1970s in the declining old money grazier milieu, this film could be written off as a period piece. Yet Schepisi has managed to capture both the theme and atmosphere of the novel. The difficulties of dying have rarely been so well depicted on film. This may not be a box office smash, but it will appeal to anyone who likes a solid piece of film-making.