Age of Consent (Columbia 1969)

Helen Mirren in Age of Consent (1969)

Age of Consent (Columbia Pictures, 1969), directed by Michael Powell, is a curious film that serves as an interesting artifact of its time. It also represents an early major role for Helen Mirren, playing opposite the veteran James Mason. While it presents a visually appealing story set against the stunning backdrop of Australia’s Barrier Reef, the film’s narrative struggles to fully realise its dramatic potential, resulting in a somewhat uneven experience. Crucially, the film is based on the 1938 novel of the same name by Norman Lindsay, a controversial Australian artist and writer, and this creative heritage is definitely felt in the end product.

The story centers on Brad Morahan (Mason), a jaded artist seeking respite from the pressures of urban life. He retreats to a remote island off the coast of Australia where he encounters Cora Ryan (Mirren), a free-spirited young woman living with her alcoholic grandmother, Ma Ryan (Neva Carr-Glyn). Cora becomes Brad’s model and inspiration, rekindling his artistic passion. The narrative explores the unlikely bond that forms between them, contrasting the artist’s sophisticated background with the simplicity of island life. The film also touches upon the concept of finding new directions in life. The depiction of Cora is very much in line with Lindsay’s fascination with the female form, and this becomes a major thematic element of the film.

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One of the film’s strengths is its visual beauty. The Australian island setting is stunningly captured, with the sun-drenched landscapes and crystal-clear waters providing a vibrant backdrop to the story. Powell, a director known for his visual flair, makes good use of the location, creating a visually alluring setting that enhances the narrative. The cinematography perfectly captures both the natural beauty of the surroundings as well as the more intimate moments between the characters.

James Mason and Helen Mirren.

The performances are generally solid. Mason brings his usual gravitas to the role of Brad, effectively portraying an artist searching for meaning. Mirren, in one of her early significant roles, exudes a youthful energy and independence that sets the tone for the character. There is a definite chemistry between the two actors, despite the differences in their ages, and this adds to the story’s believability. However, the age difference between the characters, while a key thematic concern of the film, does tend to be a bit awkward by modern standards. The supporting cast is also good, with Jack MacGowran as the shifty Nat Kelly and Carr-Glyn as the drunken Ma Ryan, each bringing their characters to life.

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The plot, however, feels somewhat uneven. The narrative includes elements of theft, a fatal accident, and a police investigation, but these plot points feel a bit underdeveloped and tacked on to the main narrative. The story involves Nat Kelly stealing money from Morahan, Cora’s aspirations to escape her island existence, and the tragic accident that leads to Ma Ryan’s death. It feels like the film is struggling to balance the dramatic with the more character-based elements, resulting in a story that is not as involving as it could have been.

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The dramatic incident in which Ma Ryan dies after a fall from a cliff after a confrontation with Cora, and the subsequent police investigation feels like a forced attempt to bring some dramatic weight to the proceedings. There is some attempt to create tension but the resolution feels somewhat rushed. The overall tone is rather episodic, with plot points that do not always flow together as well as they might.

The film concludes with Brad and Cora finding a sort of solace and companionship, a moment that feels earned. While Nat is apprehended, recovering the stolen money. While the resolution is somewhat neat, it is also a fitting end to a story about finding connections with others in unexpected places.

Head of film reviews at The Viewers Guide with an erudite, insightful, slightly sardonic, deep appreciation for classic cinema. Has a habit of quoting obscure lines from old films in everyday conversation. He keeps a meticulously organized film logbook. He's a bit of a tea snob.