Palm Beach

Nobody expects originality in the 'old buddy life-audit' genre. Ask any baby-boomer to name their favourite and it is likely that The Big Chill (1983) will pop up as the benchmark film. The structure is always the same: long-time friends reconnect around a milestone event which slowly descends into sub-plots of secrets and discontent, flavoured by a soundtrack evocative of youth and unfulfilled promise. Palm Beach (2019) follows this format exactly. However, instead of reflecting on the youthful idealism of the 1960s, it is set in a modern context of insatiable white middle-class privilege for an ageing group of malcontents, especially of the male variety.

The single impressive feature of the film is the spectacular panoramic Palm Beach setting on Sydney's Northern Beaches, filmed beautifully with lingering shots of every lovely lighting angle the wealthy can afford. The views are complemented by a stellar local ensemble that includes Bryan Brown, Richard E. Grant, Sam Neill and Greta Scacchi, all of whom play such evenly predictable parts that there may be arguments over whether anybody actually stars in this production. The sourness of this ageing cohort (nobody is seen happy) is given light relief with a few young offspring and a couple of sight gags.

The film's entertainment value rests on comic tropes, blended into a potpourri of indignities familiar to the seniors' demographic. These include nostalgia over failed careers and unresolved affairs, depression, drug abuse, sexual impotence, disappearing libido, disputed parentage, wealth envy, sagging bottoms, and even a breast prosthetic thrown to the floor with a rubbery flump. The flat tension curve is given an upward blip with a psychotic episode where the host becomes so incensed that his panoramic views are blighted by a neighbour's chimney that he attacks it with a sledgehammer. The only other moment where viewers' pulse rate might rise is a boating accident that rudely interrupts the enjoyment of views and fine wine. Given the spoilt misery amongst the group, it is laughable when one of the wives suddenly tries to leave her hapless husband but relents feebly with "just promise me that the next ten years will be the best time of our lives".

Palm Beach is pretty to look at, light-hearted and mildly entertaining. It is also slow moving, over-acted, and lightweight. It will probably have a short shelf life and struggle to find audiences beyond the well-off suburbs around Sydney. It could have been so much better.

Director: Rachel Ward Stars: Bryan Brown, Richard E. Grant, Sam Neill, Greta Scacchi

Palm Beach, which premiered as the opening film of this year's Sydney Film Festival, tells the story of a group of good friends who have a few secrets. Those secrets are bound to surface at some point. Why not do it while celebrating a birthday?

Director Rachel Ward co-wrote the story with Joanna Murray-Smith, which tackles some ethical predicaments and feelings that get repressed with (expected) catastrophic consequences. Every year we get a similar scenario presented to us on television or even on the big screen, so why do we keep making these films? The difference with Palm Beach, is that I couldn't sympathise with any of these characters. Rich white people having rich white people problems - can't relate.

That doesn't mean these stories aren't allowed to have a platform to be told, everyone wants to escape their daily life at some point and peek through a window to see what happens behind closed doors. The film takes place in the titular Sydney suburb - blue skies and crystal clear waves everywhere you look. Three members of our group of friends (Bryan Brown, Sam Neil and Richard E. Grant), used to form the band Pacific Sideburns. Their partners and children are also present and ready for a weekend of beachy tranquility.

The evening our friends arrive at Frank (Brown) and his wife Charlotte's (Greta Scacchi) house, Leo (Neill) mentions to Charlotte the pact they formed a very long time ago. Not entirely clear why he recalls this pact so suddenly, this causes the amicable vibe in the house to rise with a few degrees and everyone seems to be feeling this tension. This secretive pact lingers in the background while everyone passes their days behind luscious cheese boards and champagne by the crate, in and around Frank and Charlotte's lush hilltop habitat with panoramic view. A panoramic view ruined by a chimney, which becomes a daily discussion topic that drives Frank to his boiling point.

Cinematographer Bonnie Elliott does a great job showing off the beautiful beaches of Sydney and the nighttime scenes, but when it comes to garden gatherings it all looks a little bit too much like a commercial of some kind. The glossiness makes it look like as if some scenes were shot on an indoor-set, while I'm pretty sure this wasn't her intention. Nonetheless, a great effort that lifted the film to a higher level.

The problems these characters face are nothing but drama on the surface while being comfortable in their day-to-day life - shallow and smug. But like I said before, why tell a story that has been told in different forms many times before, if there isn't a character to relate with or feel sympathy for? The cast does a great job though. There wasn't a single person that I could point out as being a bad actor, neither was there a performance considered to be scene-stealing.

Going in with low expectations, I thought the first half was more interesting than the second. Clocking in at 100 minutes, the film feels a lot longer and without any real stakes, there's no satisfying ending to look forward to. Palm Beach is a film without a purpose and could easily be dropped on a streaming platform, to attract a bigger audience or people wanting to check it out without paying extra for it.

Frank (Bryan Brown) is having a big birthday party so he invites his best friends Leo (Sam Neill) and Billy (Richard E Grant) with their spouses and families to his house in PALM BEACH. It doesn't take long for the grudges, old and new, to emerge and the old secrets refuse to be buried. The commotion that rocks the three families threatens to ruin the holiday. What will it take to get things back on track?

Exploring the nature of a true family, that goes far beyond blood relations, PALM BEACH is a colourful portrait of a lifelong friendship with all its outcomes, good and bad, beautiful and ugly.

While the dining table drama-comedy has become its own sub genre in France (Little White Lies, Namesake) and Italy (PERFECT STRANGERS) middle class families rarely take centre stage in Australian film.

Palm beach takes a very Australian approach, avoiding high concept drama, it is breezy summer fun that focuses on the characters' onscreen chemistry. Sam Neill and Bryan Brown celebrate their birthdays together in real life, and it shows. Add a great location, breathtaking views, a catchy seventies soundtrack and you get an hour and a half of a cosy dramedy where jokes are never forced and funny, and the sad moments ring true.

Director Rachel Ward (who is also credited as one of the writers) gives an unexpected depth to a simple story, makes some basic ideas look interesting and fresh, and manages to deliver the point without preaching.

Some films are a remedy and a getaway from real life problems. See this movie. Be this party's crasher. You won't want it to end.

Sure this has been done before, most notably The Big Chill, but this was a refreshing Aussie version. The cast was distinguished and they all contributed to a satisfying and entertaining movie. The plot of old friends getting together over an extended weekend in a beautiful part of the world and then years of dramas in the group bubbling to the surface is not new, but this treatment worked. I enjoyed the revelations and must admit they were sometimes unexpected. The locale was spectacular and I can see why it was supported by NSW tourism. All told I'm glad I saw it. Well done to the team.

10 out of 10 for the cinematography and production design. I love my films to look like tourism commercials, and we don't do enough of that in Australian cinema.

But as a thirtysomething female, the content of this film really irritated me. It's a bit hard to watch a bunch of privileged, egotistical, white male baby boomers sip Dom Perignon in a Palm Beach mansion and lament about their "real-life problems" - even if it is somebody's birthday!

I'm reminded enough of this generation wealth and health gap going to work everyday; this isn't something I want to watch on the big screen too.

Having said that, if you are an older male, then finally someone has made a film for you. There have been a string of films like this for the over 60s women, now men it's your turn!

You can not fault the actual film making, everything is beautiful, and I want to support Australian film, I'm just the wrong target-market.