Josh Jarman

Synopsis: Josh (Marcus Graham) is an earnest and somewhat nerdy playwright, desperate to have his talents recognised. He catches the attention of Sasha (Kestie Morassi), only to discover her father is big-time theatre producer Stan Billows (Kim Gyngell). Stan, keen to see his daughter with a serious boyfriend, decides to stage Josh's play. As the production progresses Josh must decide between fame and his integrity, as well as his feelings for next-door-neighbour, cellist Maxine (Daniela Farinacci).

This film is not without certain charms, but , in the oft-repeated Australian way, the script tries too hard to amuse and lacks subtlety.

Let's start with the character of Josh, who no doubt is meant to be very endearing. Graham who received rave reviews for his theatrical performance in The Blue Room comes across as a little caricatured - a more toned-down performance for film, with less emphasis on Josh's "dorkiness" would have been more credible. And who could believe that a serious playwright would not know what a cello was! Not to mention that the lines in Josh's play, which Billows takes on, are so atrocious as to be barely worthy of notice by a major entrepreneur.

Kestie Morassi does a good job as the near-nymphomaniacal Sasha, oozing playfulness and sex appeal. Kim Gyngell, of Comedy Company fame, however failed to convince me in the role of Billows, maybe because, in its writing, this is such a stereotyped "ockerised" role, with him speaking in rhyming slang in such a way as to become really irritating. Josh's roommate Russ, played by Damien Richardson is again a caricature, whose activities are totally beyond the bounds of credulity. For what it is though, Richardson pulls it off with panache. However, for me the stand-out performance was Farinacci as Maxine, the cellist with a very amusing and embarrassing problem. This talented actor really knows how to bring a character to life, and it is in the relationship between her and Josh that the film really shines and displays a sweet heart.

The gradual "bastardisation" of Josh's original play provides a number of amusing moments, for some perhaps, downright funny. The finished result is quite a stand-out little Broadway-style number in its own right. Josh's choice between his own theatrical integrity and the fame he's always craved heads into predictable areas and the ending can be seen coming a mile off. With a little tweaking of plot and character this could have been better than the mildly entertaining offering it is.

 

 

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