Rush’s defamation case against newspaper The Daily Telegraph, who published articles alleging he engaged in ‘inappropriate behaviour’ during a Sydney Theatre Company production of ‘King Lear’, is expected to be decided early next year. Storm Boy received investment from Screen Australia, the South Australian Film Corporation, Piccadilly Pictures, Aurora Global Media Capita and Salt Media and Entertainment. Gulpilil played Jamieson’s character in the seminal 1976 film by Henri Safran, which also starred Greg Rowe and Peter Cummins. It also stars Trevor Jamieson as Fingerbone Bill, with a cameo from David Gulpilil as Fingerbone Bill’s father. He recounts to her the story of him as a boy (Little) when he lived a lonely life with his father, Hideaway Tom (Courtney), on an isolated coastline and how a bond with an orphaned pelican, Mr. When his grand-daughter (Morgana Davies) rebels against her father, he is forced to re-evaluate his life and tries to prevent her from going down a similar path to one he took years before. Rush plays Mike ‘Storm Boy’ Kingsley, a retired businessman who starts to see things which at first he can’t explain. Leading the cast are Jai Courtney ( Suicide Squad, Divergent), newcomer Finn Little and Geoffrey Rush. Shot in South Australia, Storm Boy is based on the classic novel by Colin Thiele, and is directed by Shawn Seet, produced by Matthew Street and Michael Boughen, and written by Justin Monjo. Studiocanal previously held the rights to the film locally, but Sony swooped on it after the deal did not pan out. In Australia, Sony Pictures Releasing will launch the film during the summer school holidays on January 17. But in the new film, by literally creating a bust of the bird – as if a clump of stone or plaster could compare with the natural majesty of wings and feathers – the meaning has been accidentally inverted: a story about how something can never die becomes about how it will never live again.Good Deed Entertainment has acquired the North American rights to Ambience Entertainment’s Storm Boy.Īccording to The Hollywood Reporter, who broke the news, the distributor plans to release it during the American springtime, with the deal brokered by Kathy Morgan International. Storm Boy lives a lonely life with his reclusive father on a desolate coastline, but when he forms a close bond with a pelican, Mr. Safran’s film looked up to the skies, evoking the wonderful flying creature as a symbol of eternal beauty, its wings flapping in hearts and minds as much as in the universe. Suffice to say that Seet doesn’t get the balance right, creating an experience more depressing than optimistic. Without revealing how the film’s conclusion unfolds, the moral question at the core of it (a simple one, about business versus conservation) is placed in the “too hard” basket, with one key character abdicating themself of moral responsibility by handballing an important decision to somebody else.īut the biggest downer involves the fate of one of the principal characters, which will not be disclosed here. Photograph: Matt Nettheim/Stormy Productions Trevor Jamieson as Fingerbone Bill, with Finn Little as Mike ‘Storm Boy’ Kingley. The protagonist receives friendship and spiritual counsel from local Indigenous man Fingerbone Bill (the naturally charismatic Trevor Jamieson). This beloved character – a fixture of our national cinema and literature – is a gregarious human-loving bird, preferring to point his long schnoz in the direction of people rather than the water. We observe his young self fostering motherless baby pelicans, one of whom becomes the family pet, Mr Percival. But, as the grown-up Kingley explains to his granddaughter, the conversations between them forming a bedtime story framing device, “one day the world came to me.” That past involves Kingley as a child (the fresh-faced Finn Little, who has great presence) living on Ninety Mile beach with his father Tom (Jai Courtney, delivering a fine performance as a reserved but not unemotional man).įather and son are cut off off from the world. Seet and the cinematographer Bruce Young (who recently shot the excellent Blue Murder: Killer Cop and the laughable Bite Club) indulge in fish-eye style compositions, with blurry edges that evoke a dreamy past. It is a strikingly surreal opener, with a rich cinematic texture that comes and goes throughout the rest of the film. The room’s floor-to-ceiling glass window shatters and everybody exits except for Kingley, who, as if in trance, walks towards it, noticing a pelican outside perched on a light post. There are intense grey clouds, rumblings of thunder and heavy rain. In a meeting room high up in the building, Kingley observes a grey and foreboding metropolis – starkly contrasting the glistening aqua water and silky sand dunes of Coorong, South Australia, where much of the film is based. Morgana Davies and Geoffrey Rush in a scene from Storm Boy.
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