A Review of ‘Colourblind’: A mystery yarn with some colour but not too much vision
A seasoned private eye gets lured into a progressively dangerous familial conflict.
‘Colourblind’: A mystery yarn with some colour but not too much vision
Cast: Nathan Hill, Anne Gauthier, Jane Badler, Nicholas Wightman, Celeste Wilson, Mardi Edge, Ian Rooney, Jake Ryan, Michael Siu, Thomas Morris, David Macrae, Priscilla Catania, Marty Rhone, Paul Moder, Frederique Fouche, Leslie Lawrence, Tom Liddy, Sean Naismith
Critic’s Rating: 2.5 Stars out of 5
Director: Nathan Hill
Duration: 1 hour, 19 minutes
Genre: Mystery, Crime, Drama, Comedy
Language: English
Release: 2019
What’s it about?
A seasoned private eye gets lured into a progressively dangerous familial conflict.
Review:
Fans of the film noir genre might be mildly interested in this offbeat private eye tale, which nevertheless, doesn’t entirely score. Though this mystery flick is well set up and benefits from a fair dose of deadpan humour, it takes a dark left turn which leads to a convenient but unfulfilling conclusion. There is a playful flippancy throughout the film’s first half that is punctuated by a few surprising developments, but the ensuing revelations hardly seem worth the viewer’s while. A fair number of characters appear but don’t hold enough screen time to warrant the audience’s interest in them. However, the narrative’s reluctance to provide too much information too quickly assures the focus of eyes and ears.
Colourblind begins with jaded private detective Jaffy Rotunda (Nathan Hill) who is all set to throw in the towel when an accomplice Alfred (Ian Rooney) lures him into one last job. Much to the chagrin of a current love interest, Jaffy begins work by dropping in at the apartment of a lady who goes by the name of Trix Baxter (Celeste Wilson). She asks Jaffy to shadow her younger sister Sia (Anne Gauthier), but strangely doesn’t provide any context... other than that she “needs an eye on her”. Meanwhile, a Mrs. Baxter (Jane Badler) hires another private eye “Mr. X” (Nicholas Wightman) to follow the same young lady who is apparently her daughter. The concerned mother merely states that her family has had a “hard year” and that she is worried about her child’s behaviour.
Jaffy keeps track of Sia’s every move, soon making a strange discovery that greatly pleases Trix. But the results from Mr. X’s own snooping infuriates Mrs. Baxter, potentially plunging Jaffy into jeopardy. Meanwhile, Sia seems to have an enigmatic effect on the hapless Jaffy. Will he come to her aid and solve the puzzling mystery surrounding the Baxter family? Interspersed in the narrative are Jaffy’s sessions with a psychiatrist (Mardi Edge), which help uncover the truth of his personal issues and inability to keep his romantic impulses in check. As the plot intensifies, several confrontations unfold as well as Jaffer’s growing obsession with Sia. Whereto will this fixation lead?
Though the film seems to change tone and occasionally suffers from this inconsistency, there is quite some juicy dialogue to keep it buoyant. This is evident in such quotable quotes as, “I would say you’re a sight for sore eyes, but I’ve been following your sister”. However, a few flirtatious scenes which are assuredly smirk-inducing, seem oddly placed and a bit implausible. Still, writer-director Nathan Hill attempts to play on the audience’s emotions rather than their sense of logic – albeit with varying results. Yet, some of the movie’s themes might remind the film buff (though ever so slightly) of such Hollywood classics as Vertigo (1958), Chinatown (1974) and even L.A. Confidential (1997).
Colourblind’s juxtaposition of human drama and droll comedy amid its mystery, is intriguing but not altogether inspired. However, the film’s lighter moments do pose as an asset, especially with Jaffy’s anachronistic investigative kit (an odd nod to James Bond). Also, Hill occasionally tries to use silent visuals to take the place of all-too-obvious talk. But again, this ploy is not always successful. What’s more, the pivotal role of Sia is underwritten and she appears to be too impressionable for a grown woman. The film’s camera work and editing is mostly adequate, though sometimes lacking. But all in all, here is a lightweight Australian mystery flick that avoids portraying its story and characters in black and white. Rather, “colourblind” would be a more appropriate assessment.
