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| DIRECTED BY |
| John Duigan
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| STARRING |
| Hugh Grant |
| Tara Fitzgerald |
| Sam Neill |
| Elle Macpherson |
| Portia de Rossi |
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Quite a curious little film from Australian director John Duigan, �Sirens� makes some interesting statements on controversial art as well as the lure of what is considered to be �sin� by particular individuals. But it still just isn�t all that interesting as a narrative and has its fair share of boring, over-played moments.
Geoff Burton�s cinematography varies from realistically simplified to remarkably beautiful � particularly evident in shots of rose petals slowly falling down upon Tara Fitzgerald�s face and in a late dream sequence showing the three models/symbols of sexual allure embracing Estella in the water. Duigan shows some very witty direction during one particular conversation at a table, dexterously moving the camera around as we listen to characters� conversations.
The contrast between moral uprightness and moral indifference is the centerpiece to this film, and Duigan wisely decided to give it a very eccentric, quirky atmosphere to make it more interesting. But certain scenes just don�t add up in the end or seem as relevant to the subject as Duigan wanted them to be. Symbolism and representation are the key devices to his narrative, but only some of it works.
The ongoing dialogues that characters have about the offensiveness of Lindsay�s art isn�t really anything that we all haven�t heard before; it quickly becomes repetitive and I began to really wonder where Duigan was going with this film. However, Elle Macpherson as the sexually liberated model is a great screen presence here; she demonstrates a surprisingly charismatic acting ability and will probably charm most viewers enough to keep watching.
It�s clear by the end that Duigan hasn�t remained neutral in terms of the artistic argument that is at the core of his film; Estella appears to have gone through a revelation thanks to �opening her eyes� to the clairvoyance and supposed truth of Lindsay�s art. It�s a testament to the good name of daring art, but it left me unconvinced due to the fact that everything that we were previously shown of Lindsay�s art seemed nothing more than completely silly. I do commend Duigan for tying both of his themes (sin and art) together in the end, however, and as a film about sexual allure and moral conflict, it�s above average and worth a look for cineastes with patience.
