FilmJuice has my review of Kieran Darcy-Smith’s Wish You Were Here, an Australian mystery/drama that is not to be confused with David Leland’s oddball British tragedy of the same name.
Set between Australia and Cambodia, Wish You Were Here is a great-looking film that is hamstrung by its director’s self-indulgence and borderline racism. The plot revolves around a pair of Australian couples who visit Cambodia and have a great old time until one of the group disappears. Understandably distraught, the remaining holiday makers limp back home and begin worrying about the disappearance of their friend and the fact that reporting his disappearance to the authorities might shine a light not only on their illegal activities but also their dysfunctional relationships. I say that the film is borderline racist as it falls into the familiar trap of using a non-white culture as backdrop for the breakdown of white middle-class lives. Colourful marketplaces, yay! Maimed beggars and brown dudes with machine guns, boo!
However, more interesting than Darcy-Smith’s use of lazy racist stereotypes is his failure to fuse the mystery and kitchen sink drama genres:
Darcy-Smith’s mistake lies in a fundamental misunderstanding of the differences between mysteries and dramas: The focus of a mystery is on leading the audience through a particular narrative while the focus of a drama is on unravelling the complexities of character. While psychological mysteries can sustain a hybridisation of the two genres, Wish You Were Here is ultimately a story about a missing tourist and not an exploration of why the characters are the way that they are. As you would expect from a plot structured around a missing person narrative, the characters only have as much depth as that central mystery requires meaning that while Darcy-Smith gives his actors vast amounts of time in which to explore their characters, the characters they are exploring are neither particularly deep nor particularly interesting. If Darcy-Smith wanted to direct a character-based drama then he should have written a script about character and not about an extraneous mystery. In a way, it’s a bit like turning up at the cinema to watch Avengers 2 only to discover that the director has decided to focus on the inner life of the bloke who drives the aircraft carrier. There’s nothing wrong with making a film about the bloke who drives the aircraft carrier but if you do then at least go to the trouble of working from a script that explores the character’s background and how they got recruited into SHIELD. Don’t just turn on the camera, leave them emote and expect the audience to be as fascinated by the results as the people doing the acting! That would make for a dull Avengers 2 and it certainly makes for a dull Wish You Were Here.
It is interesting that positive reviews of this film tend to point to the central performances of Joel Edgerton and Felicity Price as while both do well and are accorded a good deal of time and space, neither character is particularly complex or engaging. They’re just vaguely unhappy middle-class people who can’t talk about their problems. In truth, I’m not convinced that either performance was really all that worthy of commentary, though I do think that Darcy-Smith made their performances the focus of the film.