LFF: The Sapphires Gala Report

As Chris O’Dowd and his beautiful female co-stars walked up the blue, sequined carpet at the London Film Festival, it was clear that the night ahead was to be a terrific fun. Before the film actually got screened audiences where party to a showing of young director Nick Pratt’s Summer In The City, the winning entry of Nintendo 3DS: 'A Vision In 3D'. It was a short, well crafted 3D celebration of the very British year gone by.

After the eye-popping 3D, more of what we see on the big screen was to appear right before us as the director and cast of The Sapphires made their way on stage to discuss how they got their role in the film, as well as some history of the play and inspiration behind it. O’Dowd, now used to the red carpets, junkets and premieres was casual and funny but his co-stars were brimming with excitement about the whole event. It was nice to see such passion and gratitude from the female stars, all very humble in what they said about themselves whilst vehemently stressing the fabulousness of the film.

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Once the film had finished certain members of the audiences were invited to the after party at Aqua Neuva in Oxford Circus. True to form, O’Dowd was there kindly welcoming and thanking fans as well as graciously embracing all those who wanted an autograph or photo. I spoke to him briefly and thinking he would have already answered an insane amount of questions on The Sapphires, wanted to find out about his new project, Calvary (directed by The Guard’s John Michael McDonagh). His first words on the film were “It’s very, very dark” (Calvary described by the director as a black comedy), whilst mentioning he had actually shot some of it this morning – “you must be tired” I said, “Not with this happening” replied the Gala’s main man. He couldn’t remember when Calvary started shooting, or how much was left, as his TV programme Moone Boy was shot around the same time and had confused his idea of scheduling, but he was excited about each project and how well they were coming along.

As everyone had apparently been welcomed in to the party Jessica Mauboy got on a small stage and belted out a few classic soul songs. After two solo performances she invited up the rest of the Sapphires and Mr. O’Dowd in a performance of “Can’t Help Myself”. Afterwards, the four girls finished with a recital of an aborigine song that nicely mellowed everyone out before the DJ started shuffling through some classic Motown.

As the room filled with people some moved outside onto the cool terrace. Taking in the magnificent view of the London skyline, I found myself standing next to Miranda Tapsell doing the same thing. I congratulated her on the film and the amazing performances, both with acting and singing. She was incredibly genial and spent 10 minutes chatting with me on the experience and reception of the film. “I had always wanted to be part of this project in some way after seeing the play” Tapsell stated. “I still can’t believe all this.” She was very sweet about a new-found stardom but as I asked about new parts being sent in for her she answered, “Well, the film is only a small Australian production. It’s not the same situation as with someone like Jennifer Lawrence who can be in a big Hollywood film like The Hunger Games and immediately be called up after it premieres. I have gone to a few auditions but the film honestly hasn’t had a huge impact just yet. Maybe soon though...” she modestly pondered. I expect her phone won’t stop ringing after this film’s general release.

Inside, Jessica Maulboy stood close to the stage, as if primed to get up once more to sing. Surrounding her were partiers wanting to shake her hand and praise her for part in the film. I got a few moments with her and, like with Tapsell, asked her what was next. “I’m actually working on my third studio album. I mainly work within music and try to act whenever the opportunity arises. That’s why when The Sapphires auditions came about I jumped at the chance – combining two things I love in a story so inspirational”.

Before I left I quickly shook hands with Deborah Mailman and Shari Sebbens, the former answering a quick question on the release of the soundtrack – “Sometime in November, I think. It’s very exciting; I hope it does well” Judging from a few more people asking the same question to Maulboy as I said goodbye, there’s no doubt it will be just as popular as the film.

By Piers McCarthy. Also posted on Blogomatic3000. Review for the film can be found here.

LFF: The Sapphires Review

Director: Wayne Blair

Writer: Tony Briggs, Keith Thompson

Starring: Chris O’Dowd, Deborah Mailman, Jessica Maulboy, Shari Sebbens, Miranda Tapsell, Tory Kittles

Plot: Four aborigine women with a great talent for singing struggle during the turbulent era of the late 1960s when it comes to equal rights. Their own country won’t accept them for who they are but when an Irish talent scout, Dave (O’Dowd), stumbles upon them, he brings them to Vietnam to perform for the troops (without the matter of race preventing their success).

The stage show of The Sapphires is lovingly referred to in many sequences of the film adaptation. Blair’s direction is very theatrical – whether it is in framing, sets, or prop and character positioning – and completely befitting of this type of film. The story based on factual events is extraordinary and at times seems hard to believe; this is where the artificial aspects of the aesthetic are incorporated appropriately. It’s a tale of magical talent and spirit – juxtaposing natural acting and a fantastically phenomenal plot.

The Sapphires in an exercise in exuberance and often it seems tough to restrain yourself from getting up in the cinema audience and applauding after song numbers. Watching the film is like being in seats of an archaic theatre, watching a story unfolds partly through set decoration but also from your imagination. As the four ladies get up to sing on stage your mind does envisage a bigger band, a larger audience, and a grander stage all around the Sapphires – as much as you may do seeing it as a play. On occasion the feigned elements bleed through and some characterisations of the Sapphire sisterhood drifts into token territory but this is even satirically noted by Dave giving each band member a title (“the lead singer”, “the pretty one”, “dance captain”).

With moments of political commentary the film is not completely light and entertaining. What makes the four singers’ story so interesting are the hardships they had to face in order to achieve something. Where the emotional punches are made (as well as some actual punches thrown in one scene) they ring strong and true. The tonality has, after years of stage tours and receptions, been tidied to both entertain and inform.

O’Dowd plays a part uncommon in his opus so far – advertising his funny bone as normal but also a terrific singing voice. The most attention-grabbing aspect is, however, the new talent in the form of the Sapphire actresses. The women all bring their own history and experience to their roles, giving the film enormous vitality and allure. Deborah Mailman (who has played the role of Gail for a number of years already) secures the drama whilst the rest of the women dance around with genuine joy. The soul that Dave strives for in the Sapphires’ performance is so evident and infectious thanks to the actresses obvious adoration of the music. Jessica Mauboy has in real life released two solo albums and her casting as the lead vocalist was very smart. Shari Sebbens and Miranda Tapsell are given less grounding within the narrative but can still outshine the other cast members if need be, as well as taking over vocals when the occasion calls for it. Tapsell, especially, has a fiery quality that immediately takes the edge off some of the more gloomy issues of discrimination that her character and supporting family face.

The Sapphires is unexpectedly superb for a film based on the monotonous under-achiever story arc. It could have become overpowered by cliché and dainty sentimentality but it remains focused in telling a dramatic story mixed with tremendous soul. The music has been chosen fantastically well and the soundtrack elevates the film to new heights (far beyond the tripe of ABBA in Mamma Mia and criminal covers in Glee). The acting and direction is great, and even with some tedious plot points its aim to delight is completely accomplished. It certainly won’t be for everyone, but for those wanting a fun trip to the cinema it will certainly pass the hours well; this film is an absolute crowd-pleaser that will have you toe-tapping and finger-clicking all the way through. 

****

By Piers McCarthy. Also posted on Blogomatic3000. The Gala report for The Sapphires can be found here

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