This is a mystery thriller cum social drama photographed and set in Sydney,
Australia, that breaks new ground in exposing much about the complexities and
flaws of the human condition. It employs a style that is as close as a
film can get to the novel form without destroying its cinematic powers. In a
story that seethes with emotion, we are presented a group of people who show
us faithlessness, betrayal, sexual adventurism, game playing, loneliness,
dysfunction, need and more. And if involvement is the key to drama, it
catches us by the throat, and not only doesn't let go, it's grip grows as the
story unwinds.
The essential personnae starts with officer Leon Zat (Anthony LaPaglia in a
breakthrough performance), a detective whose main concern at the moment is his
extra-marital affair with Jane O'May (Rachael Blake) who is separated
from her husband and so turned on by her one-night-stand with Leon that she
hungers for more, which is more than he wants. But, he's in this position
because he's doubting his love for his wife (an exquisite Kerry Armstrong).
He has no doubts, though, about his love for his two sons which is reason
enough for a very conflicted time in his life in which he has much to work
out.
He's not the only one here who is trying to work things out and a few of
them, including his wife, is seeing therapist Valerie Somers (Barbara
Hershey) who is herself experiencing strained relations with husband John
(Geoffrey Rush), a law professor of high calibre. There is also Jane's
neighbors, Paula and Nik D'Amato (Daniella Farinacci and Vince Colosimo) who
she's friendly with and, in the absence of Leon, the man she really wants,
fantasizes an affair with Nik, inviting him over for coffee when Paula's
at work, making the first move on him.
As though this were all, but these are only the main characters and primary
plot lines. And, as the people
plod along facing their desires, betraying partners, satisfying needs, they
interact in unexpected and fascinating ways. In fact, it's only we as the
audience that has the complete picture, watching parts of one story overlap
and influence those of another.
The relationships and directions are kept clear and unhastened by Director
Ray Lawrence who occasionally strays into overly expressed emotions but whose
exceptionally keen sensibilities are woven throughout his cast's outstanding
performances. There is such a high level of behavioral understanding here
that it becomes a style of dynamic force.
The style is also in the writing by Andrew Bovell from his play ("Speaking in
Tongues") as the plot line becomes layered with increasing tension and
meaning. One of the marks of great drama is the change made by the
circumstances of the story in the principle character. 
How this is
accomplished here is simply stunning. When Leon finally allows himself to
learn if his wife still loves him, at a moment when he finally realizes what
it would mean to him, he cries, and we feel the profundity of the emotion
with him. This moment, for LaPaglia, is an amazing one that can well bring
him up those stairs to that oscar lecturn.
"Lantana" is saturated with achievement and that certainly includes all the
crafts involved, including fine cinematography by Mandy Walker and original
music by Paul Kelly (III). It has a style so subtle you aren't aware of how
deeply you're being sucked into the lives of these people until one of their
lives is threatened and, by the time that happens, you're so involved with
the people your interest level is close to breathless. Director Ray
Lawrence's use of silences and extended reactions often makes it seem like
his people are operating in the world as we know it. That's more than can be
said about many another drama.
~~ Jules Brenner