Screen Scene: "Somersault"

“Somersault” Directed by Cate Shortland
Magnolia pictures

Despite its title, the only actions that come close to acrobatic
stunts in Cate Shortland’s debut film,
“Somersault,” are sexual tumblings. Over the course of
105 minutes, Shortland touches on threesomes, sex with minors, a
near-rape, homosexuality and ““ oh, yeah ““ a
girl’s realization that sex may not solve her problems.

In the first five minutes of the Australian film, 16-year-old
Heidi (Abbie Cornish) manages to seduce her mother’s live-in
boyfriend in a bout of sexual curiosity, get kicked out of the
house after being caught in the act, and run away on a bus to a
snowy ski resort town called Jindabyne. She creates a new life for
herself, living in a hotel under the good graces of Irene (Lynette
Curran) and getting a job at the local gas station.

At night, Heidi goes out to bars and sleeps with anything that
moves, until she meets Joe (Sam Worthington), an Australian Paul
Rudd look-alike. Heidi tells Joe that she loves him but he
can’t say it back, and she begins her downward spiral
again.

The problem with the film has nothing to do with its actors:
Cornish does an excellent job of initially coming off as unlikable
but ultimately proving sympathetic, and Worthington is superb as
the confused, mysterious Joe.

The problem with “Somersault” lies in the
film’s unexplored subplots. Joe, in a drunken, frazzled
state, kisses his friend Richard (apparently out of nowhere), and
the audience is left wondering exactly why. The story about
Irene’s imprisoned son is also not explored to its full
potential. Additionally, the audience learns that the brother of
Heidi’s co-worker suffers from Asperger’s syndrome;
again, this potential subplot is never developed, even though it
could have led to an added layer of thematic complexity.

However, the cinematography in the film is riveting. Director of
Photography Robert Humphreys uses a handheld camera to make
“Somersault” seem more natural. The actors appear
unrestrained in their use of space in every scene.

Heidi’s experiences are also color-coded ““ sometimes
a bit too obviously. When Heidi feels isolated and alone, the
screen is awash in various shades of cool blue; red is the color of
innocence and joy, as reflected by the bright red mittens that
Heidi wears through most of the film. In fact, she literally looks
through rose-colored goggles at one point, hitting the audience
over the head with the metaphor.

“Somersault” was an official selection in 2004 at
Cannes and Toronto and won 13 Australian Film Institute awards, but
it doesn’t fully live up to such accolades. The plot can be
slow-moving at times, and the unresolved loose ends are
frustrating. However, the film’s powerful climax, as well as
Heidi’s touching reconciliation with her mother and
compelling scenes with Joe and Irene, allow audience members to
repeal their dislike of Heidi and begin to sympathize with her.

“”mdash; Julianne Fylstra
E-mail Fylstra at [email protected].