Culture

Directed by Andrea Bosshard and Shane Loader, (3/5).

Prior to viewing this film, I was impressed by its grassroots origins; it was shot over 5 weeks with a crew of 12, a cast of 100, in 35 different locations, on a cash budget of less than $40,000 and self-distributed to 47 screens around the country. I am very supportive of this type of sustainable New Zealand film-making, which probably explained why I was viewing it on the tiny upstairs screen by myself in Rialto at 1.45pm.
Hook, Line and Sinker follows the character of PJ (Rangimoana Taylor), his family and friends. PJ represents the quintessential New Zealand “working man” and the film revolves around his struggle with the realisation that he may be going blind and how this affects those around him.
His identity and self-worth is damaged when he can no longer be a truck driver (as he has been for the past 35 years) and therefore provide for his family. I personally was surprised by his irrational and melodramatic reaction to the news, but maybe I just can’t understand this level of male pride.
Perhaps this stood in the way of my ability to relate to PJ’S character, as throughout the film I found myself becoming slightly irritated by him and sympathising more with his partner Ronnie (Carmel McGlone). It is rare in film nowadays to see romance between an older couple, and these two had an oddly compelling chemistry which I felt was emphasised by McGlone’s stand-out performance.
I dislike spontaneous singing in movies, and this was no exception. I also found the style of humour and some of the dialogue vaguely cheesy and forced. I really can’t say that I fell in love with any of the characters, as it appeared I should.
This type of film is probably best marketed to a slightly older generation and its style, refreshingly humble and “Kiwi”, also had a certain warmth. The cinematography was the most appealing element of the film, as the camera work had a distinctly original and invasive style, which served to emphasise the characters’ humanity. I had distinct moments of both empathy and distaste for this depiction of New Zealand life.