‘The Deb’ Review: Rebel Wilson’s TIFF Closer Is An Uneven But Still Rousing Australian Musical With Hot Young Cast – Toronto Film Festival
With the goal of making a big-screen Australian musical in the vein of movies like Muriel’s Wedding and The Adventures of Priscilla, Queen of the Desert that made such an impression on her growing up, Rebel Wilson has in many ways measured up to the delights that made those films modern classics in The Deb, which just had its world premiere at the closing night of the Toronto Film Festival.
Overshadowed in the past few weeks by a public dispute between Wilson and the film’s producers that nearly derailed this premiere, that kind of negative energy should not cloud what, for much of its two-hour running time, is a toe-tapping, dazzling, fun and young musical entertainment with an exceptional cast in the kind of showcase that makes future stars. Wilson knows exactly what kind of entertainment she wants to serve up here, and for at least the first half — starting with a hilarious and wonderfully staged production number called “FML” or actually “F— My Life” — we are off to the races.
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Set in a dusty, no-hope town in the Australian Bush, the story, conceived originally by Hannah Reilly and Meg Washington as a stage musical for which they respectively also wrote lyrics and music, centers on Taylah Simpkins (Natalie Abbott), a kind of Cinderella figure, somewhat overweight but who dreams of attending the town’s annual debutante ball (yes, this two-bit place actually has a debutante ball). Of course there are all sorts of things standing in her way, including getting the right dress, the right date (any date) and steering clear of the negativity coming at her from the town’s trio of “popular” girls, a kind of Greek chorus tied together at the hip who go around singing in unison known as the Pixie Cups (Stevie Jean, Brianna Bishop, Karis Oka) with real names like Annabelle, Chantelle and Danielle. They are a hoot to be sure, and their “Pixie Cups” solo is a highlight.
Into Taylah’s life comes an unexpected visitor, her big-city cousin Maeve (Charlotte MacInnes), a knockout young woman who has, as it turns out, been “canceled” over some pigish behavior at college and is now reduced to coming to stay with Taylah and her father Rick Simpkins (Shane Jacobson), who, as mayor, is busy trying to find ways to bring water to the town in order to save it. Maeve looks down on this lot of humanity, but she also becomes a sort of beacon of light for Taylah at this time as both sing of their desire in their own ways to be “In the Spotlight,” a Broadway-esque number that points to the rich vocal talents of both stars.
In no time, Maeve, who is an ultra feminist and horrified even at the thought that this town would host anything resembling a “deb ball,” still becomes the object of desire by the town’s hot young bad boy, Dusty (Costa D’Angelo), who attempts with little luck to get her to go to the ball with him, even though Taylah would kill to have such an invite. Will Taylah make the Deb Ball? Will Maeve hook up with Dusty? Will this town survive?
These are all questions that will be answered through expertly choreographed and performed musical numbers that highlight all the action including “Comin’ Out,” “Wildfire/Lit,” “Ugly,” “Pretty Strong” and “Someone Brilliant,” in this ready-made Broadway adaptation that might work even better on the Great White Way than on film, where, in the second half, its director Wilson also enters the scene as Janette, the notorious town hairdresser with lots of opinions. A little of Janette goes a long way and unfortunately Wilson, so smart in guiding the rest of this film, doesn’t know when to cut. No doubt that many of her lines are funny and Rebel stand-up material, she just gets to be a bit much in joining this sparkling young ensemble. The film also grows a little darker, losing some of its initial bounce before recovering for the obligatory happy ending.
Abbott as Taylah, filling the same sort of exuberant role like Tracy Turnblad in Hairspray, is simply terrific here and has us rooting for her all the way. MacInnes as the alluring but free spirit Maeve is completely winning, and the large supporting cast (Kirstie McGregor was the casting director) including the sensational singers and dancers dazzle us in one number after another — all beautifully choreographed by Rob Ashford, veteran Tony and Emmy winner (Thoroughly Modern Millie).
Wilson’s directorial vision, super sharp when not focused on her own shtick, is ably aided by Ross Emery’s bright cinematography, Sam Hobbs’ perfect production design and Margot Wilson’s ace costume designs.
Producers are Wilson, as well as Gregor Cameron, Amanda Ghost, Greer Simpkin and David Jowsey. It is looking for distribution, and in a season full of movies using the musical genre in all sorts of twisted ways, this one finds much success as simply a traditional Grease-style Aussie barn burner where you might actually leave humming the tunes.
Title: The Deb
Festival: Toronto (Gala Presentations)
Director: Rebel Wilson
Screenwriter: Hannah Reilly; story by Hannah Reilly and Meg Washington; additional material by Rebel Wilson
Cast: Natalie Abbott, Charlotte MacInnes, Stevie Jean, Tara Morice, Costa D’Angelo, Shane Jacobson, Brianna Bishop, Karis Oka, Hal Cumpston, Steph Tisdell, Julian McMahon, Sophia Pennington, Rebel Wilson
Sales agent: WME
Running time: 1 hr 59 mins
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