PopMatters is moving to WordPress in December. We will continue to publish on this site as we work on the move. We aim to make it a seamless experience for readers.


Bloody Revenge Never Looked This Good: 'The Dressmaker' Sways and Slays

Kate Winslet in The Dressmaker (2016)

Kate Winslet paints the town red in this scrambled but wildly entertaining outback folktale.

The Dressmaker

Director: Jocelyn Moorhouse
Cast: Kate Winslet, Judy Davis, Liam Hemsworth, Hugo Weaving
Rated: R
Studio: Broad Green Entertainment
Year: 2015
UK Release Date: 2016-09-23
US Release Date: 2016-09-23

“The best revenge is massive success.”

Those famous, biting words, from the golden lips of Frank Sinatra, one of the foremost fashion icons of the mid-20th century, sum up quite nicely the crux of The Dressmaker, a bloody tale small-town murder, madness, and mayhem revolving around a ‘50s seamstress extraordinaire who returns to her dusty outback hometown to exact haute-couture vengeance on the poor, style-deficient townsfolk who shunned and banished her as a child. It’s more of a genre-hoarder than a genre-bender, ping-ponging between comedy, horror, suspense, romance, camp, drama, and mystery (sometimes all within the span of five minutes), and it’s wildly entertaining more often than not. More than a few moments feel forced and/or jarringly out of place, but there’s a pleasant measure of strangeness to the story that helps The Dressmaker stand out from the filmic crowd.

Helming this fashion-forward oddity is Australian filmmaker Jocelyn Moorhouse, who returns to directing following a nearly 20-year hiatus. She approaches the story -- based on the book by Rosalie Ham -- with an outlandish energy, sandwiching the silliest of moments between flashes of blood-curdling violence and unexpectedly moving scenes of teary-eyed melodrama. It’s a lot to take in and is often tonally discombobulating, but the spine of the tale is worth sifting through the nonsense for.

You can see the fire in Myrtle “Tilly” Dunnage’s (Kate Winslet) eyes from the moment she sets foot in her teeny-tiny hometown of Dungatar late one night, armed with a Singer sewing machine and a stunning, Dior-inspired dress of her own making. “I’m back, you bastards,” she growls as she puffs on a moonlit cigarette and charges toward her childhood home atop a lone hill overlooking the rest of the town.

There, she finds her mother (a delightfully ornery Judy Davis), cruelly dubbed Mad Molly by her fellow Dungatar denizens. Molly’s memory is even worse than Tilly’s, and she wails day and night to be left alone as her daughter fights to feed and bathe her. Tilly hasn’t come home to simply play caretaker, however; she’ll leave no stone unturned until she uncovers why she has no recollection of the incident that got her sent away all those years ago, in which she purportedly murdered a schoolboy in broad daylight.

Dungatar, an ugly nugget of civilization plopped in the middle of a barren, dusty sprawl, looks like something out of a wild-west folktale, its buildings few, its two dozen-or-so inhabitants as eccentric and despicable as the worst of the Brothers Grimm lot. The haggish town schoolteacher (Kerry Fox), the one who claims to have borne witness to Tilly’s gruesome crime, is as bitter as ever. Evan Pettyman (Shane Bourne), the dead boy’s father and town patriarch of sorts, has for years been taking advantage of his hapless wife (Alison Whyte) and the rest of the town in unspeakably heinous ways. Nearly as deplorable is the hunchbacked town doctor (Barry Otto), a sexist prick who decides to withhold medicine whenever he thinks it’s probable God will pick up the slack.

Almost all of Dungatar is terrified upon Tilly’s return, though their fears are slightly assuaged when she decides to start outfitting the womenfolk in gorgeous, flowing, tailored dresses (which look jaw-droppingly gorgeous on screen and pop in a most fascinating way when framed by the bone-dry landscape). It’s never made completely clear how taking the town’s level of fashion to new heights helps our heroine on her revenge mission, which is a big distraction despite all of the visual splendor this particular story thread brings to the table.

Speaking of distracting eye candy, Liam Hemsworth plays one of two townsfolk who are actually happy about Tilly’s return (the other is a cross-dressing, fabric-obsessed policeman played by Hugo Weaving, who brings wonderful cheekiness and whimsy to the tale). The young, surging Australian native is a natural Hollywood hunk (a scene that sees Winslet take his measurements while he’s stripped to the skivvies is enough to make anyone blush), but there isn’t much electricity between he and his equally stunning leading lady.

The romance leaves a lot to be desired, but so do pretty much all of the myriad other threads in the dizzying, overcomplicated plot. Moorhouse encumbers herself by trying to keep too many plates spinning at once. There’s the murder mystery, the mother-daughter drama, the storybook romance, tension between Tilly and a rival designer (Sacha Horler), the domestic horror revolving around the Pettymans. It’s too much to handle, and while the plot isn’t terminally confounding, it’s a veritable jungle of contradictory moods, themes, and character motivations.

The Dressmaker is scatterbrained and sometimes laughably contrived, but every scene works on its own, out of context, which is weird and strangely entertaining. You never know what brand of absurdity Moorhouse is going to hit you with next, but you know it’ll look great and be acted well. The grand idea that drives the story -- about the courage it takes to accept and forgive oneself in the face of mass ridicule and castigation -- is one that sticks and proves surprisingly poignant at the end of the day, despite the whirlwind of plot distractions that threaten to obscure it throughout. Taken bite by bite and with a measure of patience, Moorhouse’s directorial return is as delightfully chaotic as Tilly’s homecoming, a colorful, one-of-a-kind affair that’s not afraid to shake things up a bit.


Please Donate to Help Save PopMatters

PopMatters have been informed by our current technology provider that we have until December to move off their service. We are moving to WordPress and a new host, but we really need your help to fund the move and further development.





Is Carl Neville's 'Eminent Domain' Worth the Effort?

In Carl Neville's latest novel, Eminent Domain, he creates complexities and then shatters them into tiny narrative bits arrayed along a non-linear timeline.


Horrors in the Closet: Horrifying Heteronormative Scapegoating

The artificial connection between homosexuality and communism created the popular myth of evil and undetectable gay subversives living inside 1950s American society. Film both reflected and refracted the homophobia.


Johnny Nash Refused to Remember His Place

Johnny Nash, part rock era crooner, part Motown, and part reggae, was too polite for the more militant wing of the Civil Rights movement, but he also suffered at the hands of a racist music industry that wouldn't market him as a Black heartthrob. Through it all he was himself, as he continuously refused to "remember his place".


John Hollenbeck Completes a Trilogy with 'Songs You Like a Lot'

The third (and final?) collaboration between a brilliant jazz composer/arranger, the Frankfurt Radio Big Band, vocalists Kate McGarry and Theo Bleckman, and the post-1950 American pop song. So great that it shivers with joy.


The Return of the Rentals After Six Years Away

The Rentals release a space-themed album, Q36, with one absolute gem of a song.


Matthew Murphy's Post-Wombats Project Sounds a Lot Like the Wombats (And It's a Good Thing)

While UK anxiety-pop auteurs the Wombats are currently hibernating, frontman Matthew "Murph" Murphy goes it alone with a new band, a mess of deprecating new earworms, and revived energy.


The 100 Best Albums of the 2000s: 80-61

In this next segment of PopMatters' look back on the music of the 2000s, we examine works by British electronic pioneers, Americana legends, and Armenian metal provocateurs.


In the Tempest's Eye: An Interview with Surfer Blood

Surfer Blood's 2010 debut put them on the map, but their critical sizzle soon faded. After a 2017 comeback of sorts, the group's new record finds them expanding their sonic by revisiting their hometown with a surprising degree of reverence.


Artemis Is the Latest Jazz Supergroup

A Blue Note supergroup happens to be made up of women, exclusively. Artemis is an inconsistent outing, but it dazzles just often enough.


Horrors in the Closet: A Closet Full of Monsters

A closet full of monsters is a scary place where "straight people" can safely negotiate and articulate their fascination and/or dread of "difference" in sexuality.


'Wildflowers & All the Rest' Is Tom Petty's Masterpiece

Wildflowers is a masterpiece because Tom Petty was a good enough songwriter by that point to communicate exactly what was on his mind in the most devastating way possible.


Jazz Composer Maria Schneider Takes on the "Data Lords" in Song

Grammy-winning jazz composer Maria Schneider released Data Lords partly as a reaction to her outrage that streaming music services are harvesting the data of listeners even as they pay musicians so little that creativity is at risk. She speaks with us about the project.


The 100 Best Albums of the 2000s: 100-81

PopMatters' best albums of the 2000s begin with a series of records that span epic metal, ornate indie folk, and a terrifying work of electronic music.


The Power of Restraint in Sophie Yanow, Paco Roca, and Elisa Macellari's New Graphic Novels

The magical quality that makes or breaks a graphic novel lies somewhere in that liminal space in which art and literature intersect.


'People of the City' Is an Unrelenting Critique of Colonial Ideology and Praxis

Cyprian Ekwensi's People of the City is a vivid tale of class struggle and identity reclamation in the shadows of colonialism's reign.


1979's 'This Heat' Remains a Lodestone for Avant-Rock Adventure

On their self-titled debut, available for the first time on digital formats, This Heat delivered an all-time classic stitched together from several years of experiments.


'The Edge of Democracy' and Parallels of Political Crises

Academy Award-nominated documentary The Edge of Democracy, now streaming on Netflix, lays bare the political parallels of the rise of Bolsonaro's Brazil with Trump's America.


The Pogues' 'The BBC Sessions 1984-1986' Honors Working-Class Heroes

The Pogues' BBC Sessions 1984-1986 is a welcome chapter in the musical story of these working-class heroes, who reminded listeners of the beauty and dignity of the strong, sooty backs upon which our industrialized world was built.

Collapse Expand Reviews

Collapse Expand Features

PM Picks
Collapse Expand Pm Picks

© 1999-2020 PopMatters.com. All rights reserved.
PopMatters is wholly independent, women-owned and operated.