JUDY & PUNCH

Writer & Director
Mirrah Foulkes
(Feature film debut)

Starring
Damon Herriman, Mia Wasikowska, Benedict Hardie, Virginia Gay and Gillian Jones

The title of this film, although odd, might sound familiar to some. That’s because JUDY & PUNCH is a live-action reinterpretation of a famous 17th century puppet show titled Punch & Judy, with its origins in 16th century Italian ‘commedia dell’arte’ (theatre shows characterised by regular characters that would live within a world of improvised humour).

This Australian film set in 17th Century England in the anarchic town of Seaside (nowhere near the sea, as the onscreen text at the beginning of the film informs us) begins the same way as the traditional puppet show, with a sidekick character controlled by Punch’s wife, Judy (Mia Wasikowska) falling victim to Punch’s (Damon Herriman) slapstick ways. Off stage, Punch is anxiously waiting for the opportunity to take his craft around the world via an impending but unexpected visit from a couple of renowned critics, but his worsening alcohol addiction threatens to derail this prospect. It also brings out the worst in his narcissistic, reckless and increasingly aggressive temperament, which soon leads to a great tragedy. With his baby and wife having suddenly and inexplicably vanished, Punch fabricates a story that implicates a couple of locals and convinces everybody, except for the town’s new but helpless constable (Benedict Hardie). However, Punch’s claims cause plenty of doubt when Judy reappears.

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First-time feature film director Mirrah Foulkes explains her film as a ‘dark, absurd fable treading a line between fairy-tale, fantasy and gritty realism, all of which work together to establish a unique tone while upsetting viewer expectations’. I must say, she’s accurately reviewed her own film too! Quite simply, JUDY & PUNCH is an odd film that I (and probably you) won’t be forgetting anytime soon, but it is its intrepid and bold originality that generates and maintains much of its momentum throughout. The purposeful writing and contemporary twist to the tale employed here by Mirrah Foulkes gives her film a fresh trajectory laden with a number of surprises and keeps its conclusion from ever becoming too foreseeable.

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The mood of the film follows a similar plight, as described by the director herself. This hand-picking of genres swiftly shifting across a spectrum of genuine drama and tragedy, and odd and absurd humour with elements of fantasy wasn’t something that worked quite as well for me. In fact, JUDY & PUNCH already possesses the story, score, design and production to have cemented itself a classic camp and Gothic horror movie of cult status. Though from my perspective it misses this grand opportunity, it certainly knows how to tie itself in with today’s themes and where its seamlessly integrated message lies. Finally, Adelaide-born actor Damon Herriman has had a few impressive appearances this year in Quentin Tarantino’s latest offering ONCE UPON A TIME IN HOLLYWOOD, the excellent Australian period drama THE NIGHTINGALE and in an episode of Netflix series Mindhunter. His AACTA nominated work in JUDY & PUNCH is by far his best to date.