Product Details

• Actors: Geneviève Lemon, Karen Colston, Tom Lycos, Jon Darling, Dorothy Barry
• Directors: Jane Campion
• Writers: Jane Campion, Gerard Lee
• Producers: Billy MacKinnon, John Maynard
• Format: Color, NTSC
• Rated: R (Restricted)
• Number of tapes: 1
• Studio: Avid Home Ent
• VHS Release Date: April 22, 1997
• Run Time: 97 minutes
• Average Customer Review: 4.0 out of 5 stars  See all reviews (6 customer reviews)
• ASIN: 6304398484
• Amazon Best Sellers Rank: #228,313 in Movies & TV (See Top 100 in Movies & TV)

Editorial Reviews

Amazon.com

Chock full of director Jane Campion's trademark sensitivity, her debut, Sweetie, is slyly emotional without sentimentality. In this family drama, Kay (Karen Colston) stars as a prudish, confused loner, who chooses her mate, Louis (Tom Lycos), based on the shape of the mole on his face. As a couple, they lack passion, due to Kay's fear of the erotic. Once her mentally ill sister, Dawn, a.k.a. Sweetie (Genevieve Lemon) comes to visit, the viewer understands that Kay's temperance has evolved out of her wish to tame her wild sister. As Kay's parents weather turbulence, and after Sweetie suffers a tragic fate, Kay's happiness becomes less and less tangible, until she realizes the basic human need for love. Campion embellishes this story of disconnection with camera shots that feel lonesome; a scene in which Kay and Louis swim is shot from across the body of water, at the water's eye level. An old-fashioned setting, at least in Kay's home, mocks the idea of a functional nuclear family. On every level, Sweetie is crafted by its tone, one of melancholy infused with hope, making it not only Campion's best film, but also a clear selection for the Criterion Collection. --Trinie Dalton

Customer Reviews

Most Helpful Customer Reviews

18 of 18 people found the following review helpful:

5.0 out of 5 stars She's Not As Sweet As Her Name Might Suggest, September 30, 2006

By 

K. Harris "Film aficionado" (Albuquerque, NM) - See all my reviews
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This review is from: Sweetie (The Criterion Collection) (DVD)

"Sweetie" is here! A Criterion treatment! The first time I saw "Sweetie" was purely by accident. It was before Jane Campion went on to make better known, bigger budget films--this film was her feature debut in Australia. And while I respect many of her works including "The Piano" and "An Angel At My Table", I don't have the passion for them that I do for this oddball of a movie. Part of the joy of seeing "Sweetie" for the first time was having no expectations. The film surprised me in every regard--it's wickedly funny, yet horrifying and moving at the same time. A few years ago, I found it again and I made my friends watch it, too. I was concerned it might not hold up to memory, but that feeling was short-lived as soon as the wondrous Genevieve Lemon came onscreen as Sweetie.

"Sweetie" is a film that really explores the notion of family. As the titular character, Sweetie is a powerful presence whose very existence has crippled her family and, in many ways, held them hostage. Primarily, we see things through Sweetie's sister Kay and I love that the film introduces us to the peculiarities of Kay without explanation. Then when Sweetie arrives on the scene, things start to become very clear as the family dynamic takes the foreground.

I consider "Sweetie" a comedy, but I'm not sure everyone would agree. But then, I have a bit of a sick sense of humor. Certainly there are many laughs to be had in the film--if only uncomfortable ones. But, make no mistake, there is also genuine and vivid emotional turmoil. The films success is that it balances these elements so well--and, in fact, that brings a bold realism and resonance to the proceedings.

The film is shot beautifully, and always slightly askew (which is perfect for the subject matter). The performances are vivid. Karen Colston is great as Kay, and you won't soon forget Lemon as Sweetie. And as odd as the film is, it will stay with you. And you just might recognize elements of your own family dynamic within the excesses presented! KGHarris, 9/06.

8 of 9 people found the following review helpful:

5.0 out of 5 stars pure pleasure, June 13, 2002

By 

C. L. White (Minneapolis, MN) - See all my reviews
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This review is from: Sweetie [VHS] (VHS Tape)

I've seen three Campion movies. It took a long time for me to forgive 'The Piano''s humorless, heavy hands and move on to 'Holy Smoke!'. But HS revealed a comic sensibility that 'The Piano' never suspected. 'Sweetie,' Campion's first feature, is by far my favorite yet.

'Sweetie' is an odd film. Mostly, it's an examination of what it means to be an individual--inside of and outside of the repetitive struggles of family dramas--and the perils and joys of exclusion and elitism. Campion uses her sharp wit to draw blood, and without the comforts of a privileged moral voice (e.g. the competent parent or maternal sufferer of most family dramas), the humor can seem a little mean-spirited at times. But 'Sweetie' tempers its alienated perspective with moments of grace that are as terrifying, joyful and sublime as the dry open spaces of its Australian landscape.

Moving the viewer through a fractured world of beautiful and unsettling images, Sweetie is this director's most richly creative and psychically adventurous work.

10 of 13 people found the following review helpful:

4.0 out of 5 stars family trees, August 11, 2001

By 

Peter Shelley "petershelley" (Sydney, New South Wales Australia) - See all my reviews
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This review is from: Sweetie [VHS] (VHS Tape)

This film is to director Jane Campion's The Piano what David Lynch's Eraserhead is to his The Elephant Man - a personal highly stylised experiment before the challenge of the more conventional big budget assignments that would allow for both a controlling of each director's excesses and a streamlining of their obsessions. The parallel between Lynch and Campion can also be extended to their mutual interest in loners, misfits and eccentrics, and they both treat them with piteous dignity, in much the same way photographer Diane Arbus did for her "freaks". Sweetie is similar to Eraserhead also because it's an endurance test for those who hold a high opinion of each director's later work. The fine line between pleasure and pain can be felt with great artists and their fine line between genius and crud. Campion here uses a song "Love will never let you fall" sung by Tony Backhouse and The Cafe of the Gate of Salvation Choir as a backdrop to her tale of two sisters. Campion dedicates the film to her own sister and the screenplay written by herself and Gerard Lee is based on Campion's idea, so we know this is a personal story. (Campion's sister Anna is now also a director). Campion doesn't introduce the title sister until she has established the nature of the first, Kay, but also we don't fully understand why Kay is the way she is until Sweetie arrives, and is soon followed by their father. Sweetie is a monstrous child/woman but when the arguments between sisters begin it's hard to know whose side to take, since Sweetie makes Kay just as dislikable. Perhaps because Campion knew the narrative could be reduced to the domestic struggle of those tied by blood, she employs an expressionist use of framing where the person on view is placed off centre, as well as stop motion footage of the growth of plants, a montage of the workings of Kay's mind when she attempts meditation, and a flashback to Sweetie as a childhood performer with a growling dog as audience. There are also strangely disturbing images - 2 men dancing together at a cattle station, and Sweetie bathing her father. However, like Lynch, Campion has a wicked sense of humour and the climactic incident in a tree is equally comic, tragic and metaphoric. As the sisters, Karen Colston and Genevieve Lemon are never allowed to become grotesques - they are both given touching breakdown scenes - and Campion appears to have a special gift for handling child actors, with the little boy neighbour and the girl playing Sweetie as a child at the end particularly good. And like Eraserhead, once you manage to adjust yourself to the slow rhythms and lower your too high expectations, you find that Sweetie gets better as it goes along.