One of my favorite films, Cosi is a touching and funny Australian gem. It reminds the viewer that when she reaches beyond her assumed abilities, dreams can be obtained beyond her (and others) wildest imaginings.
The story focuses on Lewis, who lands a job (by a coin toss) as the director for a variety show at a state-run mental hospital. The intent of the variety show is to provide therapy to the patients by allowing them to perform. The variety show idea starts to flounder as soon as he meets Roy, a pushy, loud patient who intends for Lewis to direct Cosi fan Tutte, an opera by Mozart.
Roy takes over by changing Lewis' name to Jerry, and casting himself, Ruth a shy, hurt woman with suicidal tendencies, Doug, a violent, pyromaniac animal abuser, Henry, a stuttering, child-like former lawyer, and Cherry, a dumpy, unpredictable man-chaser. Lewis' one contribution to the cast is Julie, a sensitive drug addict sent to the institution rather than rehab. Rounding out the group is Zac, as the tranquilized piano player, who hates Mozart but loves Wagner and Ruth.
As Roy pushes the opera forward, despite Lewis' concerns that the opera is in Italian and that no one can sing the music, other complications arise. Cherry has romantic intentions towards Lewis, Henry doesn't want to be in the show, Roy berates Lewis' directorial abilities, and Lewis faces more problems at home with his girlfriend Lucy and his friend Nick.
This is a warm and very humorous movie. The visual look of the film is beautiful. One possible problem that others have noted is that the film romanticizes the mentally ill. This is true, but on the other hand it also treats them as real people who are frightening in their unpredictability and violent outbursts. Lewis, at first, is afraid and nervous around these people; he flinches away from Doug during the auditions. As the film goes on, Lewis (and also the viewer) becomes familiar with the patients and their actions, a familiarity that allows him to see past that which frightens him about them, and find the humanity which he can understand and even care about. All of the patients have moments of true insight, moments being the key word.
The screenplay was written by Louis Nowra. Nowra adapted the script from his hit play of the same name. The play is semi-autobiographical, dealing with Nowra's experiences directing a show in a mental institution in the 1970's. Although the patients did not want to perform Mozart operas, they did want to do Gilbert and Sullivan operettas.
Ben Mendelsohn reprises his role as Lewis, an all around nice guy, who tends to follow the lead of others. His Lewis is subtle and charming, capable of great caring and connection with others. One of my favorite moments in the film is the short scene where he comforts a distraught Ruth during a rehearsal. Another wonderful moment happens when Roy quits the show just moments before the curtain rises. It's a joy to watch Lewis try various approaches to convince Roy to come back to the theater; his growing annoyance, his return to self-control, and finally his amusement and affection for this man who has been a thorn in his side since the start of film.
Toni Collette is dynamite in this movie. I have seen Collette in only a few movies (Muriel's Wedding, The Sixth Sense, Emma), but she has yet to disappoint me. She is one of my favorite young actresses. Too bad Hollywood is so hung up on its ideal of physical beauty; they should be beating down her door with offers. Her Julie is funny and touching, optimistic without being cloying; somewhat bemused at finding herself committed in a metal institution. This film also reveals that Collette has a terrific singing voice. She sings two songs in the film and the end credit piece.
Other standout performances are Barry Otto (Strictly Ballroom) who turns in a wonderful performance as Roy. He is annoying, funny, bizarre and has a voice that could peel wallpaper. He also gives us a character that we cannot help but feel empathy with. Rachel Griffiths (Muriel's Wedding, Children of the Revolution) turns in another intelligent performance as Lewis' pragmatic girlfriend. Jacki Weaver (Picnic at Hanging Rock), Pamela Rabe, and Paul Chubb are also very good.
David Wenham is chilling as Doug, the violent, destructive closed-ward patient. He is angry and dark, delighting in causing distress to others. Despite this, Wenham still manages to find humor in the character. Aden Young is enjoyable and despicable as Nick, Lewis' self-important actor friend. His performance in Diary of a Madman is divinely absurd.
I find Colin Friels' performance as Errol, the head nurse, very memorable. He is a cynical and no-nonsense man, but also one who cares deeply about the well fare of the human beings under his care. It is fun to see Colin Hay, of rock's Men at Work fame, as Zac. Make sure to watch all the way through the end credits. Hay and a friend send us off with a final tribute to Wagner.
One last thing about Cosi, it ends on a very quiet note. It is triumphant during the performance of the opera, but afterwards, it lets down. This isn't a fault. It's realistic. Even though Lewis and the patients are better for having done the opera, it didn't change the world. It didn't suddenly set everything right. There is a sense of disappointment; a feeling that most of us have felt after a big event comes to an end. Lewis simply walks home.
A drifter lives near a slaughterhouse, works in a Sydney asylum and reluctantly directs mental patients in an operatic production.More at HotMovieSale.com
An unemployed drama director jumps at the chance to stage Mozart's "Cosi Fan Tutte" except for one small detail--his actors are the residents of a psy...More at Family Video
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