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Sarah Jessica Parker
A young reverend and his wife are on the way from England to Australia to minister to their flock. The bishop asks him to visit an eccentric artist prone to sexual depictions and requests that he voluntarily withdraw a controversial work call "Crucified Venus" from his show. The minister, who considers himself a progressive, is shocked at the amoral atmosphere surrounding the painter, his wife, and the three models living at his estate. The minister's wife is troubled also, and has to deal with latent sexual urges while trying to remain loyal to her husband. Written by
Ed Sutton <email@example.com>
Although this movie is a work of fiction, it is centered around a real person. Norman Lindsay was a real-life artist and author in Australia during the early 1900s. Several of his books have been adapted into movies, including Age of Consent (1969) which tells a different version of this same story. See more »
In the first dining room scene, as Norman leaves the table, Giddy offers Estella some tea. Moments later in the scene, as Tony is speaking, Giddy and Estella can be seen repeating the action in the background. See more »
[reading from newspaper]
The repetitious excesses of Norman Lindsay have long been a source of consternation to clean-living citizens of this country. For many years he has painted men and women who seem to be slaves of cocaine or a similar drug which has reduced them to frenzied and shameless morbidity. Today, however, not content with scorning all standards of public decency, he has chosen to profane the most sacred image of the Christian church, the Crucifixion.
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It is not the bosoms, really. No, there is an earnest quality here that is dependent on performances and landscapes and an essential moral tale than on the bounteousness of bums and bosoms frolicking in Australia. Neil is always good, Tara Fitzgerland is fine, and that often one-note Hugh Grant works perfectly as a priggish English priest who opens up ever so slightly when all is said and done. And much is said and some is done. There is some absolutley wonderful photography and some perfectly awful and obvious photography that would make Hallmark blush. Pretty good script with the story wandering about more than a bit. Shorter would have been better and the blue shots of nude statuary of indifferent quality by this nice but hardly profound Australian artist(on whose life and an episode therein, is it based)could have been a one-shot affair for my money. But I liked it for the performances.
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