Film Response of Muriel’s Wedding
Muriel’s Wedding is a contemporary comedy set in a small Australian
town. This enables the film to explore many of the Australian
ideologies through the discourse of its characters and film
techniques. The value that I’ll be focusing on is the various aspects
of mateship portrayed in the film.
Mateship is considered to be an integral part of the Australian
persona. It is the bond between close friends, where one is willing to
lend a hand to the other in times of need. In this film, the
characters who best represent this are Rhonda and Muriel. Their
friendship is built on common interests and support for each other.
This is particularly evident in the scene on Hibiscus Island, where
Ronda and Muriel are singing ABBA songs and are watching the night
sky. They are shot close together in a single frame and at an eye
level angle, indicating their intimacy and equality. Blue colour wash
is applied to create a harmonious and romantic atmosphere, while the
champagne bottle symbolises relaxation and pleasure.
Further evidence of their amity is shown in the scene when Ronda is
discovered to have cancer and is confined to a wheelchair. A close up
of Ronda’s twisted foot is shown, signifying her physical and internal
struggle against her condition. In an effort to comfort her friend,
Muriel assures Ronda that she will walk again and that because of
Ronda, Muriel’s life ‘is as good as an ABBA song.’ where ABBA songs
have a connotation of happiness and fulfilment. At this point, the
viewer is positioned to sympathize with Ronda and at the same time
marvel at Muriel’s sudden wisdom.
What sets this film apart from some of the other Australian movies is
that it depicts the true nature of mateship, where the bond between
Muriel and Rhonda can be broken, but can also be reformed. In the
final scene, Muriel and Ronda are reunited from their previous dispute
and took a taxi away from Porpoise Spit. Their ecstatic facial
expression combined with natural lighting and the cheerful tune of
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