Great novels are seldom adapted into great films, so the works that have earned prestigious literary awards are probably not going to be reincarnated into works worthy of prestigious film awards. On the other hand, some film makers tend to master difficult task of adapting literature into films with greater ease and more success than others. One of them is Gillian Armstrong, Australian director who made successful 1994 adaptation of Little Women. Three years later she made Oscar and Lucinda, film based on Peter Carey's novel that had won prestigious Booker Prize.
The plot, narrated by protagonists' grandson (played by Geoffrey Rush), begins at two opposite ends of the world in the middle of 19th Century. Lucinda Leplastrier (played by Cate Blanchett) is a free-spirited woman who grew up in Australian Outback and whose lifestyle represents a challenge to the norms of conservative male-dominated society. Oscar Hopkins (played by Ralph Fiennes) is shy young man who, confused with his father's Christian fundamentalism, went to Oxford in order to become an Anglican priest. There he develops a gambling habit that represents a huge contrast to his modesty and shyness. In the meantime, Lucinda inherits a glass factory and travels to England in order to purchase material. On the ship, while returning home, she meets Oscar who has accepted post in Australia. Two very different people realise that they share a passion for gambling, and this would later lead to great bet and great adventure. Lucinda bets her whole inheritance against Oscar delivering glass church to Reverend Dennis Hasset (played by Ciaran Hinds), her old friend. Oscar accepts the bet, unimpressed with Hasset having his post at the other side of wild and still unexplored continent.
Oscar and Lucinda tries, and for the most part succeeds, of being different than most of period dramas made in 1990s. Two protagonists are unusual and fascinating characters and the richness of production design, costumes and other details that reconstruct Victorian period are well-matched with the exotic beauty of Australian locations. Armstrong also manages to inject a humour in film scripted by Laura Jones, author whose previous adaptations of literature (A Thousand Acres, The Portrait of a Lady) left much to be desired. Because of that, Oscar and Lucinda leaves generally good impression despite forced and not particularly convincing finale. The acting in the film is wonderful – Ralph Fiennes, just like many other members of English and Australian cast, shows that he can master period drama roles in his sleep. This film also promoted Cate Blanchett as big international star; her role of Lucinda is one of the first displays of her enormous talent. Although not the best example of turning good literature into good films, Oscar and Lucinda is a film that proves how the gap between two media can be bridged.
RATING: 6/10 (++)
(Note: The text in its original form was posted in Usenet newsgroup rec.arts.films.reviews on May 12th 2004)
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