THE ROYAL HOTEL – Review by Diane Carson
The Royal Hotel travels to the Australian outback with two young women.
Consider the desperation, courage, and naiveté prompting two young American friends, Hanna and Liv, to accept a job bartending at the completely misnamed Royal Hotel, located in a remote Australian Outback mining town. As backpacking tourists in Sydney without any viable options, they certainly need the money. However, Hanna and Liv fail utterly to anticipate the clientele, to their dismay.
Native Australian writer/director Kitty Green made a splash with her quiet, yet razor-sharp critique of the film production business in https://awfj.org/blog/2020/01/26/movie-of-the-week-january-31-2020-the-assistant/. There, Julia Garner (of the series Ozark fame) played recent college graduate Jane, a newly hired junior assistant aspiring to a film producer career and discovering the patriarchal exploitation. In The Royal Hotel, Green reunites with Garner, here as Hanna, more assertive than Liv (Jessica Henwick). By contrast, the sexism here is confrontationally delivered via the bar’s ear-splitting, annoying noise and brash, magnified male behavior.
The two friends are nicely differentiated: Liv too naïve, too dismissive, with a drinking problem; Hanna wary, more volatile, defensive, and assertive. Their friendship matters immensely, but it doesn’t take much imagination to predict developments, though several idyllic interludes provide some relief. In all the scenes, cinematographer Michael Latham’s presentation of the actual barren landscape adds emotional qualities complementing the milieu.
Of considerable interest is the origin of the film, as described in press notes and by director Green at this year’s Telluride Film Festival premiere. The catalyst was the documentary Hotel Coolgardi showcasing two Scandinavian women. Retaining the significant, unique women’s perspective appealed to Green, allowing her to again critique “workplace gender inequality, sexual harassment, and misconduct.” Green expands the typical male genre to probe embedded hostility leading to terrifying confrontations, despite the good intentions of a few, including Billy, the alcoholic pub owner, solidly portrayed by Hugo Weaving. The momentum builds, the payoff is surprising, and I know I never want to visit this bar.
