The title "Lorelei." Why? Where had I heard it before? And there it was. As an avid reader of the Patrick O'Brian Captain Aubrey/Surgeon Maturin Napoleonic War sea sagas, still bemused by why only one "Master and Commander" movies were made (Crowe/Bettany sublime,) I remembered the fear of Lorelei: a siren that would lure lust-crazed seamen and their ships onto the rocks.
This film is the parallel: how Wayland (Pablo Schrieber) just released from prison and still under the thumb of a controlling parole officer, is lured back into the life of Dolores (Jena Malone,) his high school sweetheart lover. What is different now is that she has three kids, each with a different father, none in evidence. The performances of Malone and Schrieber are strong, resolute and wholly believable, the chemistry sizzles.
However, it is the sheer delight of the performances of the three kids, each so different, each named after a variety of the color blue, that transforms this intelligent and inspiring film. The eldest bi-racial Dodger Blue (Chancellor Perry) tackling his own inner strength yet insecurities by physically confronting Wayland; the stalwart Denim Blue (Parker Pascoe-Sheppard) and the delightful minx Periwinkle Blue (Amelia Borgerding) capture Waylands' - and the audiences - heart. How this all transpires is up to you to see!
There are many other fine performances in the supporting cast, with a standout of Trish Egan playing the long-suffering, but always supportive Pastor Gail.
First time directing a long-form, the British but Hollywood transplanted Sabrina Doyle is no stranger to excellence and a darling of the International film festival circuit. With many lauded shorts under her belt (her "113 Degrees" won a raft of nominations and wins; Lorelei has already garnered 5 wins and 12 nominations) Although they say that one should never work with children or animals, Doyle masterfully guides her own script though fascinating uncharted waters and never towards those rocks. Writing and directing one's own work is no mean feat and many have failed to find that objectivity: that is not the problem with Lorelei.
Why an 9 out of 10 rating? At 111 minutes, the film could use a little tightening, especially between the second and third acts. The editing itself is occasionally a little choppy. However, the cinematography is stunning. Purposefully set in the Pacific Northwest (the story could be transplanted to almost anywhere) in every scene the muted tones of grey and pale blue are always accented with a counter-punch of color, not the least in the visually gorgeous Harley scenes. Never have Hogs looked so good.
This film is the parallel: how Wayland (Pablo Schrieber) just released from prison and still under the thumb of a controlling parole officer, is lured back into the life of Dolores (Jena Malone,) his high school sweetheart lover. What is different now is that she has three kids, each with a different father, none in evidence. The performances of Malone and Schrieber are strong, resolute and wholly believable, the chemistry sizzles.
However, it is the sheer delight of the performances of the three kids, each so different, each named after a variety of the color blue, that transforms this intelligent and inspiring film. The eldest bi-racial Dodger Blue (Chancellor Perry) tackling his own inner strength yet insecurities by physically confronting Wayland; the stalwart Denim Blue (Parker Pascoe-Sheppard) and the delightful minx Periwinkle Blue (Amelia Borgerding) capture Waylands' - and the audiences - heart. How this all transpires is up to you to see!
There are many other fine performances in the supporting cast, with a standout of Trish Egan playing the long-suffering, but always supportive Pastor Gail.
First time directing a long-form, the British but Hollywood transplanted Sabrina Doyle is no stranger to excellence and a darling of the International film festival circuit. With many lauded shorts under her belt (her "113 Degrees" won a raft of nominations and wins; Lorelei has already garnered 5 wins and 12 nominations) Although they say that one should never work with children or animals, Doyle masterfully guides her own script though fascinating uncharted waters and never towards those rocks. Writing and directing one's own work is no mean feat and many have failed to find that objectivity: that is not the problem with Lorelei.
Why an 9 out of 10 rating? At 111 minutes, the film could use a little tightening, especially between the second and third acts. The editing itself is occasionally a little choppy. However, the cinematography is stunning. Purposefully set in the Pacific Northwest (the story could be transplanted to almost anywhere) in every scene the muted tones of grey and pale blue are always accented with a counter-punch of color, not the least in the visually gorgeous Harley scenes. Never have Hogs looked so good.