Summary: Australian filmmaker John Duigan (The Year My Voice Broke, Wide Sargasso Sea) has a taste for sensual art direction that occasionally flares up in a big, big way. With Sirens, he manages to turn oceans of female nudity into a slightly tongue-in-cheek decorousness that is neither unpersuasively arty nor purely soft porn. Starring Hugh Grant (and released the same year as two other Grant vehicles, Four Weddings and a Funeral and Bitter Moon, thus establishing him as a star), the film finds the handsome, stammering actor playing an Anglican priest newly posted to Australia. There, the clergyman's first mission is to convince a famously libertarian artist (Sam Neill) not to exhibit a painting with mixed erotic and religious themes. The experience of being at their host's anything-goes compound for a few days, however, nestled deep in the wilds and keeping company with uninhibited, frequently naked models proves terribly stirring for Grant and his character's timid wife (Tara Fitzgerald), the two of them a study in sexual repression. The film doesn't have a point so much as it does an appealing atmosphere of unbridled naturalism counterpointed by Grant's charming self-consciousness. Once you've grown accustomed to the phenomenal sight of an unclothed Elle Macpherson (who is actually very good in her acting debut as a semi-savage model) wandering toward the bank of a river, for instance, you realize she's only part of the amazing flora and fauna enriching this pocket of earth and the souls of our principal characters. --Tom Keogh
Sirens
