The Sapphires (review)

I absolutely see why they term it the Aussie Dreamgirls, but it truly is something else entirely, and in many ways - it is deeper and darker than its American predecessor.

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The Sapphires is a sassy, energetic and charming little musical grounded by an endearing cast of raw, earthy performances. Chris O'Dowd, the quirky cop from Bridesmaids, gives us a charismatic and soulful leading man. Sure he's a little drunk here and there, but it all adds to the allure, and his eccentric character keeps us laughing hysterically. O'Dowd's natural delivery heightens the film's liveliness, and even though the script is bumpy - he hustles the story along quite smoothly; and to complete his dynamic duet is the fiery Deborah Mailman.

He calls her the Mama Bear, and boy does she live up to it. With her wildly precise verbal jabs and commanding presence, she is utterly refreshing, but her brilliance extends beyond this. The moments that I cherish most are the quiet moments of her grief, and gut-wrenching pain. She's a loose cannon with a broken soul and a big heart, and we adore her.

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Needless to say, Jessica Mauboy, with her exuberant smile and flawless vocals, is the musical's focal point. Her inspired rendition of Who's Lovin' You deserves a standing ovation. To think of it, the film has seamless musical coherence, and every number, may it be soul or jazz, adds to the audience's enjoyment.

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This film is a real crowd-pleaser, and ultimately a feel-good production. From the moment I saw the trailer, I knew The Sapphires would under-exploit the politics of its setting, and I promptly thought to myself Who cares? This film presents a string of intriguing relationships, which is more than I can say for Dreamgirls, and whilst it doesn't fully realise the cruelty of racism or brutality of war - it is also not sickeningly sappy. In fact, the intense scenes dealt some serious blows - giving the film the dark nuances for which I yearn.

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Jessica Mauboy's angelic and emotive voice is key to the film's soul and entertainment, but for me, it is O'Dowd and Mailman's performances that brought it all together. I would be more than happy to grant a score of 9, but The Sapphires misses one thing, and that is an out of this world musical number. You know, the song that won Jennifer Hudson an Academy Award (I'm Not Going) or the one Catherine Zeta Jones used to snatch her Oscar (All That Jazz), or even a duet that shatters your soul and tears your heart. Of course I'm referring to McGregor and Kidman's Come What May.