Sirens is a 1994 Anglo-Australian production written and directed by John Duigan dealing with Australian artist and writer Norman Lindsay. I personally consider Lindsay to be the only great painter Australia has ever produced, and also the greatest erotic painter of the 20th century. So any movie about him is going to pique my interest. I did in fact see this movie some years ago but I’m now getting the chance to see it on Blu-Ray.
While it deals with a real person the story is entirely fiction.
As the film opens (presumably some time in the 1930s) church leaders are in a panic about a new exhibition of Australian painting. Given that is the country’s most celebrated painter Norman Lindsay (played in the film by Sam Neill) could hardly be excluded but the paintings the artist has chosen to represent his work are giving churchmen and society’s moral watchdogs heart failure. The paintings are highly erotic and possibly even blasphemous. Somehow Lindsay has to be persuaded to substitute more respectable paintings for these shocking canvases. Which may be a challenge, since Lindsay doesn’t paint respectable paintings.
The Bishop of Sydney feels that it would be futile for any local churchman to try to persuade Lindsay. But possibly the Reverend Anthony Campion (Hugh Grant) might be able to do it. Tony Campion is a young English churchman with a reputation as a progressive, and as luck would have it he will be passing very close to Lindsay’s home in the Blue Mountains on his way to a new parish.
The artist offers to put Tony and his wife Estella (Tara Fitzgerald) up for the night. Lindsay is highly amused by the whole business.
Their stay in Lindsay’s eccentric household turns out to be rather longer than expected. Tony makes very little progress. Lindsay has dealt with puritans before. They don’t impress him.
The Lindsay household consists of Lindsay, his wife Rose (Pamela Rabe), their two children and three models – Sheela (Elle Macpherson), Pru (Kate Fischer) and Giddy (Portia de Rossi) although Giddy is not actually a professional artist’s model. There is also odd-job man Devlin (Mark Gerber) but he doesn’t live in the house. Devlin is almost blind.
Estella Campion feels very uncomfortable in this household. She’s rather straitlaced and respectable and she is deeply shocked by Sheela, Pru and Giddy. She thinks that Sheela and Pru are not respectable young women at all. And the erotically charged atmosphere in the household disturbs her a great deal. It awakens things in her the existence of which she had never suspected. Wicked erotic longings. Especially when she catches sight of Devin naked in the woods.
Tony is a little unsettled as well. Everywhere he goes there seem to be naked women.
Not everyone likes this movie. The mixed reaction to it may have something to do with he fact that it came out in 1994. At that time the Sexual Revolution seemed to have been won and the puritans appeared to have been routed. Society seemed to be becoming steadily more civilised, more sophisticated, more open-minded and more grown-up about sex. A movie that indulged in puritan-baiting seemed a bit gratuitous and unnecessary. A bit like putting the boot into an enemy who was already down and out. Today of course we know that the puritans were far from defeated and they’re on the offensive again, so the movie now has a bit more bite to it than it had in 1994.
And Duigan wisely did not fall for the temptation to make the clergyman a stereotypical fire-and-brimstone preacher obsessed with sin and guilt. Tony Campion is just a little bit of a prude but he tries very hard not to be, he really is fairly open-minded and he’s an easy-going very likeable young chap. Hugh Grant was rather inspired choice to play the young churchman and he does an excellent job.
In fact the two antagonists are both equally sympathetic. Sam Neill plays Lindsay as a strong-willed man who will not compromise on his beliefs but also as a loveable rogue and an eccentric with a certain rough charm.
These are two men who violently disagree, but neither would ever stoop to vindictiveness. There’s little doubt that the movie is on Lindsay’s side but it doesn’t try to bludgeon us into agreement.
Tara Fitzgerald is very good as Estella, a troubled woman trying to cope with newly awakened passions. The actresses playing the three models all do quite well. Elle Macpherson is fun as the uncouth free-spirited Sheela.
There is of course a fair bit of nudity. You could hardly make a movie about Norman Lindsay without naked women. That would be a betrayal of the artistic freedom in which he believed. And seeing Elle Macpherson nude isn’t exactly an ordeal.
While Sirens deals with some serious themes about artistic freedom, and deals with some serious emotional and sexual dramas, the overall tone is very lighthearted and there’s a great deal of comedy. Which is actually quite appropriate. If you read Norman Lindsay’s wonderful 1938 novel Age of Consent you’ll find a very similar mixture. It’s a story of an artist grappling with his art, desperately trying to find his artistic voice. There’s emotional and sexual drama. There’s a great deal of comedy, and a generally lighthearted tone. So Sirens does in many ways capture the spirit of Lindsay’s fiction.
The Australian Blu-Ray release from Umbrella provides an excellent transfer, there’s an audio commentary by the movie’s writer-director and the movie’s producer and a number of other extras.
Sirens is executed with a light and skilful touch and it works. Highly recommended.