Film Review: Black Balloon

Set in the early 1990s, Elissa Down’s 2008 directorial debut, The Black Balloon, is in essence a nod to Australian 90s cinema. The film pays homage to the iconic, feel-good, quirky tragicomedies of the decade, with the casting of Collette (a heroine of early 90s Aussie comedies such as Spotswood and Muriel’s wedding) as heavily pregnant mother, Maggie, seeming all too deliberate.

Collette however takes a backseat to the action in The Black Balloon with Home and Away alumni and silver screen newcomer, Rhys Wakefield, claiming the lead role as the hormone-ravaged fifteen year old, Thomas Mollison. The film follows Thomas’ struggle through growing up and social isolation, all the while dealing with the acceptance of his autistic brother Charlie (Luke Ford). With the added burdens of fitting into a new school, his mothers looming labour and his father’s (Erik Thompson) military position determining another imminent, temporary relocation, Thomas finds an escape in a romance with local schoolgirl, Jackie (Gemma Ward). The film is essentially a story of growing up, dealing with mental illness, and finding the balance between the sudden, new inevitabilities of growing and the unchangeable forces of permanency.

The film carries all the typical traits of a mental illness comedy-drama, including faeces, unwarranted masturbation, and constant moaning. More than that however, the film feels aesthetically very much like an Australian film of the 90s; complete with denim overalls, Super Nintendo’s, moustaches and a creeping feeling of pre-9/11 innocent cynicism. The only thing missing is a Savage Garden soundtrack. The music however (predominantly a 21^st century synth-score provided by musician Michael Yezerski with the likes of Josh Pyke, Crowded House and David Campbell also contributing tracks) never feels as nostalgic as it probably should. It seems the film may only have been set in the 90s for the desire of a 90s cinema comparison, and the film to an extent achieves this. It tries to be Muriel’s Wedding with simple, yet quirky characters dealing with dysfunction, and The Black Balloon in a way certainly succeeds, but in other circumstances falls short.

As mostly unpretentious as the film may appear, the 90s quirkiness in the film often feels contrived and at times even clumsy, particularly in the relationship of Thomas and Jackie. This however seems at no fault to the acting of either Wakefield or Ward who both deliver solid performances, but rather to Down’s heavy-handed direction and writing of the romance. As physically unconvincing as supermodel, Ward, is as a pushbike riding, hot-pink helmet clad fifteen year old, her character Jackie is far more unbelievable. She is far too convenient and uncomfortably perfect, and her unwavering loyalty to Thomas through all the awkward poo-related and masturbatory catastrophes feels incongruous with the typical timid nature of a fifteen-year-old girl. The dialogue between the two, which is filled to the brim with mature insight and quirky quips, often feels a little ham-handed too, especially considering the discourse between other characters, which is mostly top-notch conversational dialogue.

With that said, most actors give stellar performances, particularly the always-excellent Collette who graces the screen with a humorous and smart presence. However the standout performance, and one that the film will be remembered for, is from Ford as Charlie. Ford gives a certain tenderness and restraint to a role that could have been otherwise uncomfortably over-the-top, delivering it in a way that challenges political correctness without seeming unrealistic. You can partly thank Down’s mostly fantastic script, which writes the character of Charlie as a very disconnected, however wholly believable and insanely likable asset to the cast of misfits. This is an understandable outcome considering Down’s upbringing in an autistic household, something that has a significant resonance in the film. There is a great sense of respect for the characters and storyline, which never appears insensitive and, albeit, never too sensitive. Apart from the few aforementioned hiccups along the way, for the most part, the conversational dialogue and relationships feel real, intelligent and deeply affecting.

All in all, Down’s directorial debut, The Black Balloon, is a strong, however flawed one. Though these flaws are easily forgivable considering the first-rate acting from the entire cast and a script that, as inconsistent as some of it may be, always comes across as respectful, delicate and sincere. It is a film that does its 90s predecessors justice, and one that will no doubt be looked back on in many years to come as the film that jumpstarted the careers of Rhys Wakefield (who recently appeared in the James Cameron-produced blockbuster, Sanctum 3D) and the brilliant Luke Ford (who recently appeared in the commercially and critically successful, Animal Kingdom).