The Real Story: The Sapphires

Posted on March 30, 2013 at 8:00 am

This week’s release, “The Sapphires,” tells the story of a 60’s girl group from Australia that toured Viet Nam to perform for American military.  It is based on a play written by Tony Briggs, the son of one of the singers, portrayed as a toddler in the movie. Over the credits, viewers get to see the real Sapphires and find out what happened to them.

The Sapphires feature film is inspired by a true story about four extraordinary Aboriginal women, sisters Laurel Robinson, Lois Peeler and their cousins Beverley Briggs and Naomi Mayers. Yorta Yorta women born along the Murray River, they were part of an extended family of brothers and sisters who regularly sang together during the 1960’s and 70’s. Sisters Laurel and Lois toured Vietnam in the late 1960’s singing to the American troops -­ an extraordinary achievement for two young Aboriginal women, considering that Aboriginal people had just received the right to vote. All four women still live in Australia. Naomi Mayers has been the Chief Executive Officer of the Aboriginal Medical Service for 30 years. Beverly and Laurel have tirelessly worked by her side striving to improve the health of the Aboriginal community. Naomi received an Order of Australia Medal in 1984. Lois Peeler became Australia’s first Aboriginal model and is now the Executive Director of Worawa Aboriginal College, a secondary education facility for young Aboriginal Women, founded by one of her seven sisters the late Hyllus Maris. Lois is also the former head of Aboriginal Tourism Australia.

Sadly, there are no films of their performances in the 60’s.  In real life, only two of them went to Viet Nam.  The other two were opposed to the war and did not want to go.  And it was their aunt, not their cousin, who was part of the “stolen generation.”  They have a great interview with Australia Geographic about their lives as singers and what happened afterward, and what comes next, and what they love most about having their story told in a movie:

That someone took a chance on us. That someone took the time to tell our stories. That my son, Tony, has received so many awards for telling our stories. We’re so proud of him. The next story Tony wants to write is about our grandfather on our mother’s side. I’ve started writing my life story. But I’ve only done one page.

 

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The Real Story

The Sapphires

Posted on March 28, 2013 at 6:00 pm

B+
Lowest Recommended Age: High School
MPAA Rating: Rated PG-13 for sexuality, a scene of war violence, some language, thematic elements, and smoking
Profanity: Strong language
Alcohol/ Drugs: Drinking, smoking
Violence/ Scariness: War violence
Diversity Issues: A theme of the movie
Date Released to Theaters: March 22, 2013
Date Released to DVD: August 15, 2013
Amazon.com ASIN: B00D2UMHQ0

A very conventional story of a 60’s Australian girl group gains extra power from its context and setting in this fact-based story set to the beat of Motown soul.  Co-written by the son of one of the real-life singers and directed by Wayne Blair, who starred in the play based on their story, “The Sapphires” is clearly a labor of love for all involved and a touching tribute to four women for whom success as performers was just the beginning.

Before it begins, we learn two stark, devastating facts.  Until 1967, the native Australians dubbed “Aborigines” by the British settlers were not classified as humans by the Australian government.  They were considered “flora or fauna.”  And the government had the authority to remove light-skinned native children from their families as part of the program depicted in “Rabbit-Proof Fence” to make them part of the white community.

We meet the future singers as children, three sisters and their cousin, performing at a family celebration in 1958.  The light-skinned cousin is taken to become part of what is now known as the “Stolen Generation,” with no contact with her family.

A decade later, as young women, the sisters still sing together.  Gail, the feisty oldest (Deborah Mailman of “Rabbit-Proof Fence”), the ambitious Julie (pop singer Jessica Mauboy), and the flirty Cynthia (Miranda Tapsell) enter a local competition singing American country and western.  Braving the bigotry of the audience, they sing a Merle Haggard song.

The accompanist/master of ceremonies is Dave (“Bridesmaids'” Chris O’Dowd) is a broken-down mess who seems to have burned every possible bridge that once linked him to music, a job, his home in Ireland, or any semblance of self-respect.  But he still knows the real deal when he hears it.  As amateurish as they are, Dave sees what the sisters can become.  They ask him to come with them to try out for a chance to perform for American GIs in Viet Nam for $30 a week.  Soon they have reconnected with their cousin Kay (Shari Sebbens), switched from country to Motown, and passed the audition under their new name, inspired by a ring — The Sapphires. O’Dowd’s shambling charm plays well against Mailman’s protective ferocity and the wartime background and struggles against bigotry add some heft what might otherwise seem like a lightweight jukebox musical.

A girl group with four members under high-stress touring conditions far from home means many opportunities for romance, adventure, and power struggles, plus the inevitable rehearsal montages. “Can you make it sound blacker?” Dave asks.  He switches lead singers, guides them on stage presence, and suggests some different songs.  Both country and soul music are about loss, he tells them, but in country music the singer has given up.  “With soul, they’re still struggling.”  Dave’s passion for the music and his belief in the girls are scary but exhilarating.  So is being away from home for the first time.

The girls learn that performing is about more than great songs and tight harmonies as they are touched by the valor of the American soldiers.  It is not just that the GIs expect a show; they deserve one.  So, The Sapphires add spangles, go-go boots, rump-shaking and a lot of attitude.

That gives them the freedom to open themselves up to new experiences and new ways of looking at themselves.  And it means that we get to enjoy quite a show as well.  When the storyline starts to feel too close to the familiar “VH1 Behind the Music” soapy sagas of backstage tensions and heartache, those fabulous classic soul songs of the 60’s ring out, thoughtfully matched to what is happening off-stage.  “I Heard It Through the Grapevine,” “What a Man,” “I’ll Take You There,” “Hold On!  I’m Coming,” and many more add tremendous energy and spirit.  They are every bit as entertaining as they were nearly half a century ago.  Equally entrancing is a touching moment when they sing a native song called “Ngarra Burra Ferra.”

The credit sequence updates us on what happened after The Sapphires came home, with an extraordinary record of achievement, photos of the beautiful women who inspired the film, and a concluding line of piercing sweetness.  It would be great to have a sequel, but they deserve a documentary.

Parents should know that this movie includes strong language, sexual references, smoking, drinking, and wartime violence.

Family discussion: How do the racial conflicts portrayed in this film compare to those of the same era in the United States?  What makes them different?  Are you surprised by what the Sapphires did after their tour?

If you like this, try: “Rabbit-Proof Fence” and “Dreamgirls”

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Based on a play Based on a true story Biography Drama DVD/Blu-Ray Pick of the Week Family Issues Music Musical Romance War

Interview: Wayne Blair of “The Sapphires”

Posted on March 26, 2013 at 8:00 am

Wayne Blair is an actor who starred in the live theatrical version of “The Sapphires,” the true story of three sisters and a cousin who became a successful girl group in 1960’s Australia.  He directed the feature film based on the play, which opens this week.  He spoke to me about bringing what he knows as an actor to directing a film and loving American country and western when he was growing up.  His next project, as writer, director, and actor, is an Australian miniseries called “Redfern Now,” the first series written, directed and produced by Indigenous Australians.

How were you selected to direct this film?

It was a stage show, a musical, a sold-out theater show in Australia, and I was an actor in that show, and friends with the writer.  He asked me if I wanted to direct the film.  I’d done a lot of short films. But this is my first feature film.

How does being an actor help you as a director?

Your communication skills are much better.  You can cut to the chase.  You can see when an actor’s frustrated, when he’s firing on all cylinders.  You know what they need to hear and how they need to hear it.

You’re too young to have grown up with the music of the 60’s.  Were you familiar with these songs? 

I grew up with it in my family and sort of stayed with me.  I grew up more with more country and western, Merle Haggard and George Strait.   “All my exes live in Texas……” Like that!  When we finally got into soul we exaggerated it a little bit.

What was it like to have the people who really lived the story looking over your shoulder?

They were involved but they gave a lot of trust over to us.  The co-writer is their son, and they were involved in the stage show.  They knew we weren’t going to tamper with it much.

How did you do the casting?

We were looking for four girls that were newcomers, some new talent.  We went looking all over Australia for girls who were not only great singers but great actors, and who could work with the family on the set.  These four girls were the best. I don’t say this lightly.  I was very fortunate, blessed in that sense.  Chris O’Dowd was the last added and we really lucked out.  I went to LA.  “Bridesmaids” had just opened and they said, “You should go see this new guy coming out of Ireland.” It was a no-brainer.

What were you looking for on the costumes for the girls?

We just wanted something authentic.  We were looking at two different times, 1958 and 1968.  We were looking at four different women, making them look real but making them look great.  So it was a bit of a challenge.  But  Tess Schofield just did amazing things with the budget we had, just keeping it very, very real, in a certain moment and time.  We had our budget limitations and that was a great thing because you just make better choices.

Was the battle scene in Viet Nam the biggest challenge?

We shot this film in six weeks.  Every day was a challenge.  Shooting five people every day with two cameras — it takes it out of you.  Shooting a lot of cast every day, and key cast — everyone had their line in almost every scene.  But the battle, yes, that was a big challenge.

What’s the best advice you got about directing?

Just take it beat by beat, moment by moment, scene by scene, day by day.  Make sure you get one scene, don’t think of the next.  Make sure you get every moment that you’re after.

 

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Directors Interview
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