Customer Reviews

Sirens

5 star:		(31)
4 star:		(20)
3 star:		(7)
2 star:		(3)
1 star:		(2)

 

 

Spoiler alert: You might not want to read the following if you haven't seen the movie yet.

Most of the reviews of Sirens at Amazon focus on Elle, the nudity in the movie, and themes surrounding the Church's stance against freedom of expression. A few reviewers have touched intelligently on some of the biblical, Atlantean, and Homeric symbolism that suffuses the movie.

Only one reviewer, who happened not to like the film, touched on what I consider to be one of the most telling elements of the story: that Tara Fitzgerald's character Estella cheats on her husband, Hugh Grant. The reviewer thinks this is a problem, and it is, because Estella is a clergyman's wife. This should require some explaining, as Estella changes a great deal in a short amount of time during the film.

The cover of the movie shows Hugh Grant and Elle McPherson in poses suggesting a light-hearted romantic comedy. The movie is actually completely about Tara Fitzgerald's character's journey. What are the clues? The movie starts with Estella both flirting with and rebuffing a sailor on an ocean liner. Hugh Grant is not in the scene at all.

The movie follows Estella much more closely than any of the other characters and at key moments we even see hallucinations as Estella sees them: when she imagines herself naked in church and most importantly, when she "dreams" that the sirens are baptizing her (with water that turns to blood, no less, at which point she "wants to wake up") toward the end of the movie. The offensive painting for which Estella and her husband travel to Sam Neill's house shows a woman crucified in Christ's place, signalling that the female lead, not the male, is the protagonist.

But is the movie about Estella's sexual awakening? Not really.

It is not until after she awakens from the dream described above that the viewer learns the ship on which Estella sailed was the Titanic (look above her head when she and Hugh Grant are on the train leaving Australia--it is the same ship shown throughout the film). What could this mean? Estella is drowning in the wreck of the Titanic. As she is dying she experiences the events in the movie, a mix of Ulysses' sailors drawn to their watery graves by the beautiful sirens, a magical trip to the island of Atlantis (Australia), and religious rumblings of the moral tension between fidelity and self-expression. The "mission" to convince Sam Neill not to exhibit his blasphemous painting represents Estella's fight to stay alive. When she and her husband accept that they will not change Sam Neill's resolve (including the fact that he has painted Estella), Estella is giving up her grip on life. Look at the expression of relief and release on her face in the movie's very last scene before fading to the sirens on the rocks.

With a seemingly slapped on ending in which Estella and husband leave some of their sexual repression behind them, voila: you have a movie that viewers enjoy but is quite a bit deeper, as well.

Check it out, it's beautiful and brilliant!

SIRENS, released in 1993, is a beguiling film that pokes fun at the sexual repression that may result from an overactive religious zeal. Hugh Grant, as the Anglican minister Anthony Champion newly arrived in early 20th century Australia, is asked by the bishop to pay a call on a local artist, Norman Lindsay, and to beseech him to withdraw from exhibition a painting considered scandalous. Horror of horrors, it includes bare-naked ladies.

Anthony and his young spouse Estella, played by Tara Fitzgerald, arrive at Lindsay's estate to find the artist, portrayed by Sam Neill, busily painting away. Norman's earthy wife and three resident female models serve as his inspiration, and clothing on the four is, more oft than not, unabashedly optional. This in-your-face display of live, nubile flesh leaves the Reverend rather tongue-tied and confused (as only Grant can play it). At first, wife Estella shares her husband's righteous indignation. Then, the lush, humid, tropical surroundings and free-spirited lifestyle of the Lindsay estate, along with the presence of a hunky handyman, begin to work their liberating magic on her repressed desires. (A very nice touch is the representation of Temptation as a large serpent that slithers through occasional scenes unnoticed by anyone but the viewer.)

It all sounds potentially raunchy, but never is. Rather than being a manipulative, licentious debauchee, Neill's on-screen persona is one of an amused, live and let live observer of human nature - a sort of detached Hugh Hefner. There's an abundance of casual nudity, but it's almost artistically presented. The sexual nature of a couple scenes is more sensuous than bawdy. And, one of this film's undeniable attractions is real-life model Elle MacPherson, who plays the role of one of the uninhibited SIRENS, and who shows an eyeful. Boy, does she ever. It's an amusing and well-done adult, fairy tale.

If you concentrate on the sexual tension in this movie, you'll miss the wonderful symbolism (snake in the garden, blind man, angels, etc.). This is a whimsical story of temptation, love, acceptance and many more of life's twisted paths. Very seductive and entertaining. An added bonus was the fact that Elle had to gain a little weight so she had a stomach, for the artist portrayed in the movie painted 'natural' female nudes, rather than the twiggy thin models that most women never aspire to without starvation. Loved it!

Chrissy K. McVay - Author

Most reviews like this movie for good reason, but there are many details that nobody mentions which are an important reason why this movie works so well. It should be required viewing for every subsequent generation of film-makers.

There are too many wonderful things to explore in this movie than can be covered in an Amazon review, but here are a few. Why is the opening boat sequence shot in black and white, when the rest of the movie is in lush color? Do you understand the snake metaphor? (It shows up once in reference to Stella and once in reference to Stella and twice more.) Stella loans Giddy her wedding ring to fool Devlin, but what more than that does it represent?

Sam Neill and Hugh Grant are perfect as opponents together; but the story isn't about them. Stella makes the journey in this story, and if the result is a bit predictable it is so well done that it doesn't matter.

Also it is interesting to see a then-versus-now comparison of Portia de Rossi (Giddy) who grew up to play Nell on Ally McBeal. There's a lot of talent there that seems to have not been used enough.

A prudish English couple--a minister (Hugh Grant) and his wife (Tara Fitzgerald) are send on a journey to wild and dangerous Australia to confront and attempt to convince a famous artist (Sam Elliot) to forego displaying paintings that are blasphemous in the eyes of the church.

Due to circumstances beyond their control the couple is forced to spend a number of days at the artist's home which he shares with a "harem" of independent minded females--his emancipated wife, three very distinct, sexy, and free-spirited models, and his two charmingly uninhibited young daughters.

In a red painted dining room the wine runs freely and the participants of the two worlds delightfully collide with animated discussion of social class, art, women's rights, sex, fairies, classical mythology, and of course, Christianity. (Oh, how I long to be among this party participating in the conversation and digging my fingernail into the Stilton cheese.)

During the stay the minister's wife is influenced by the models and "becomes" Eve. She is tempted and "falls" in this garden of Eden where she experiences sensuality and sexual passion for the first time--with surprising consequences.

In the end the worlds come together. Hearts and minds have been opened and softened. Affection and respect for the other is apparent--Christian forgiveness triumphs.

This is an intelligent, beautiful, and otherworldly erotic film that is a delight. The music, which is such a strong component to this story, composed by Rachel Portman, is exquisitely whimsical and perfect.

Before I get too involved in this, let me say that - like most reviewers - I liked this film ... a lot. It has a gaiety and innocence, somehow combined with a heady sexuality, a vision of life in Eden - before the fall. The women are beautiful, and the abandon with which they exhibit their bodies (and their libidos) is refreshing. The scenery is gorgeous. The plot is witty, and the film is filled with tantalizing little symbols (although I personally could have done without the snake) But there's something else going on here which is very important. This is, above all, a parable of woman finding power through her sexuality, and it rings true. In the end, Mrs. Campion is seduced by the sirens, and in discovering her own sexuality, becomes free to be herself. (The closing shot of all the women - including her - standing, nude, on the mountaintop is a wonderful statement). It may seem ironic that this film, which ostensibly is made to appeal to men through sex, is actually a statement about the power women wield through the same medium. Because of the nudity and hedonism, this film could not have as wide an audience as it deserves. I have heard women complain that it is 'exploitive'. I can't agree. I have also heard it criticized beause it depicts only 'Beautiful' women. Of course it does. It's a parable, and MUST use broad strokes. I would like to believe that, one day, a wide audience will be able to accept this film - and those of its ilk - and enjoy them. Heck!! That's also what the film is about.

I enjoy this film quite a bit. I like the story. I like the acting...the fact that everyone had fun making it is apparent. Like one or two other men, I have a weakness for the female human body, which the audience is tastefully treated to throughout the film. I like Elle MacPherson in it, even moreso after I found out that she gained weight for the role and pulled off a very decent performance to boot (also, I disagree with a previous reviewer that considered her looking anything but at her best; I think she looks fabulous with the less-anorexic look). And finally, I like the film's underlying themes and philosophies and lighthearted tones, which reflect the way I also prefer to see the world and make for pleasant viewing.

So why only three stars? The DVD is frankly horrid. The film is presented only in standard, not widescreen. The picture quality itself is really quite noticeably poor (for DVD). There are no language selections at all aside from English. There are no subtitles available at all, for any language. And although I'm not a stickler for extras like commentaries and documentaries (and in all frankness I think most people could care less), those that are really into them should note that there is nothing of the sort to be found here either, aside from three text-based cast "biographies". In essence, this DVD is nothing more than the movie itself, providing few of the advantages of DVD over VHS at all. One thing that is, fortunately, included is a decent soundtrack; it is in Dolby 5.1.

A very pleasant film overall, with a very pleasant story, and certainly very pleasant scenery, but a disappointingly substandard DVD release.

SIRENS tells the story of a preacher man and his wife who meet a controversial painter and his female subjects. The film makes its point about the side of us that does what's right because we won't get away with doing what's wrong. Newcomer Elle Macpherson, playing a free-spirit, tickle-enthusiast model, would have stolen the film even without disrobing. Heck, Macpherson gained weight on purpose for her SIRENS role; how many stars would be willing to look less than their best, and in the nude, no less? If lingering nudity doesn't make you uncomfortable, SIRENS is worth a look.

Sirens

At first I thought this would be a light comedy--a sexy and spirited comedy. But it is not that at all.

True, there's witty dialogue and some humorous moments, but Sirens is a deeper tred into a world where paganism and Christianity collide.

The Reverend Campion (Hugh Grant) and his wife Estella (Tara Fitzgerald)journey to Australia for the purpose of dissuading artist Norman Lindsey (Sam Neill)from displaying some of his most controversial paintings in an art exhibit.

The repressed campions are houseguests of Lindsey and his wife and the sensuous young women who pose for the artist.

This is a story on many levels, but it is primarily Estella's journey from repression to desire.

There's lots of nudity, gorgeous photography and poignant moments in this first class story of liberation and seduction. Super model Elle makes her film debut as one of the sirens.

I viewed this movie the first time in the theatre and loved it completely. Any woman, or man for that matter, who grew up in a sort of repressed world can understand the obvious fasination that this couple might experience when they come to Australia and become guests of this notorious artist and his family.

From the first momentous scene, when the couple encounters the Rasputinesque man with the missing limb, the film hints at the terrifying prospects of life beneath the lush beauty of earth's surroundings. Beware, behind all beauty lies death---but ah! the pleasure in living!!!!The elegant subtlety of Sirens lies within its ability to unmask and shyly peek at the longing we have of freely given love and the fasination of discovering the beauty of our genders. Even as the threat of death and decay peers through the trees, we crave the acknowledgement of our sensual needs and fears; we, sometimes cautiously, bend to the impossible curiousity that nags us in viewing our sexual opposites, and yes, in acknowledging our own sex.

My only critism of the VHS/DVD, is that one misses the humor and in large the major comment of what the movie seeks to share. The newspaper articles originally shown on the large screen, are unreadable on the small screen. The VHS/DVD viewers suffer from this loss because the impact of the film in the juxtaposition of these humorous and tragic observations shown through the medium of local news. They whisper to us of the uncertainty of ife, the quickness of death, the need to seize upon the gift of love and life.

The visual impact of the film is sensual and lovely; the actors are equally so. For once, Hugh Grant's bumbling bumbles aren't so irritating and the elegant Tara Fitzgerald lures you gently into her search of discovery for the sacred place where love and lust can happily survive. The cast is outstanding.

If they release a better version of the DVD in the future, I hope that the viewing of the headlines can be remedied. It makes all the difference in the perception of the film.