Muriel's Wedding is an Australian gem that perhaps suffers somewhat from being earmarked as a 'comedy'. Certainly there are plenty of laughs, but this film is no mere cheap and cheesy crowd-pleaser. As well as dealing with the insularity and cattiness of her hometown, Porpoise Spit, Muriel also must face the suicide of her mother and paralysing of her best friend. Yet, despite these tragedies, Muriel manages to come out on top, and at the same time strike a blow for anybody who has ever been snubbed by the in-crowd.
The characterisation in the movie is brilliant, particularly that of Muriel's family of no-hopers. Hoping to shed the title of "useless" bestowed on her by her father, Muriel (Toni Collette) absconds with the family's savings to an island resort, where she meets vivacious, straight-talking Rhonda (Rachel Griffiths). Rhonda is the catalyst for Muriel to become a new person, but unfortunately Muriel takes her obsession with weddings one step too far and marries just for the sake of it. She thinks she has finally "made it", but comes to realise that there's more to life than public image.
The soundtrack is a gloriously appropriate ABBA symphony, although both Dancing Queen and the film's original theme tune are over-utilised. It is surely partly due to ABBA's pleasant familiarity that it is so easy to become emotionally involved in the film, and the viewer will likely experience the whole gamut of feelings during its course. The finale, whilst upbeat, fortunately doesn't stumble into the realm of saccharine moralism (which so many filmmakers seem to think it is necessary to conclude with). Instead, we feel the triumph along with Muriel and Rhonda as they bid a raucous farewell to Porpoise Spit.
The characterisation in the movie is brilliant, particularly that of Muriel's family of no-hopers. Hoping to shed the title of "useless" bestowed on her by her father, Muriel (Toni Collette) absconds with the family's savings to an island resort, where she meets vivacious, straight-talking Rhonda (Rachel Griffiths). Rhonda is the catalyst for Muriel to become a new person, but unfortunately Muriel takes her obsession with weddings one step too far and marries just for the sake of it. She thinks she has finally "made it", but comes to realise that there's more to life than public image.
The soundtrack is a gloriously appropriate ABBA symphony, although both Dancing Queen and the film's original theme tune are over-utilised. It is surely partly due to ABBA's pleasant familiarity that it is so easy to become emotionally involved in the film, and the viewer will likely experience the whole gamut of feelings during its course. The finale, whilst upbeat, fortunately doesn't stumble into the realm of saccharine moralism (which so many filmmakers seem to think it is necessary to conclude with). Instead, we feel the triumph along with Muriel and Rhonda as they bid a raucous farewell to Porpoise Spit.