If there’s anything more horrifying than a sweet sixteenth birthday party, it’s the horrifying thought of a forgettable fifteenth birthday party. So, it’s no surprise that Greta Driscoll would prefer to be a Girl Asleep when she enters the school corridor to find her mother has invited every single pubescent fool to her birthday party.
The thought of being fifteen again is so harrowing, that it’s easy to see why Molly Ringwall demanded that sixteenth candle be placed on her cake – just so she could move things right along.
Not in the case of protagonist Greta, whose mother is looking for her own excuse to dance, father is wanting to hang a cheesy birthday banner and sister is just wanting a party to invite her boyfriend to.
Set in the 1970s, Girl Asleep is a bizarre mix of the ocker humour of Muriel’s Wedding and the fantastical dark whimsy of Maurice Sendak’s picture book Where the Wild Things Are. It’s a film in two parts, in that it’s grounded in the banality of Australian suburban life (albeit an overblown surreal representation), while later transcending into a parallel world inhabited by mystical creatures.
It’s hard to pin down what makes this such an enjoyable film. Perhaps it is the familiarity in the nostalgic portrait of seventies’ Australia; Certainly there’s a disarming enthusiasm from Harrison Feldman’s performance (much like his character Oscar in Upper Middle Bogan) that makes it hard to look away. Most of all it is likely to be we’re empathising with young Greta’s quest to escape back into her innocence of youth, as many of us often try/want to do.