Film Review: Age of Consent (1969)

The filmographies of great directors usually don’t end on the highest of notes, and British director Michael Powell is no exception to this trend. His final film, the 1969 romantic drama Age of Consent, stands apart from the revered classics he created in collaboration with Emeric Pressburger during the 1940s. On the other hand, while it may not match the artistic brilliance of films like The Red Shoes or Black Narcissus, Age of Consent possesses a unique charm that could aptly illustrate the phrase “guilty pleasure.”

The film is adapted from Norman Lindsay's 1938 semi-autobiographical novel, which reflects the life of the Australian writer and painter known for his erotic artwork and libertine lifestyle. Lindsay's provocative nature sparked considerable controversy, leading to the novel being briefly banned in Australia due to its explicit content.

The plot starts in contemporary New York City where we meet Bradley Morahan (played by James Mason), a successful painter facing a creative block despite his commercial success. Discontented with his life, Morahan seeks solace on a remote island in the Great Barrier Reef, hoping to rekindle his artistic inspiration. There, he encounters Cora Ryan (played by Helen Mirren), a spirited teenage girl who survives through fishing and petty theft while dreaming of a better life in Brisbane. Morahan becomes captivated by her beauty and persuades her to become his model, leading to a complex relationship that is further complicated by Cora’s alcoholic grandmother (played by Neva Carr Glyn) and the arrival of Morahan’s friend Nat Kelly (played by Jack MacGowran), who is entangled in gambling debts.

Produced by Mason, who had established himself as a respected Hollywood star by this time, Age of Consent represents a significant collaboration for both actor and director. Mason had long admired Powell's work and was eager to collaborate with him. However, by the late 1960s, Powell’s reputation had suffered due to the backlash from his earlier film Peeping Tom, which had been met with critical disdain and controversy. This left him in a sort of exile in Australia, where he would create this final feature.

At this juncture in cinematic history, Powell found himself benefiting from the Sexual Revolution that was sweeping through Western societies. The relaxation of strict censorship standards allowed for more explicit portrayals of sexuality on screen, making Age of Consent Powell’s most erotic film.

The film is perhaps best remembered for its scenes featuring Helen Mirren, then just 23 years old and relatively unknown outside theatre circles. Mirren’s nude appearances are striking not only for their audacity but also for how they complement the breathtaking natural beauty of the Great Barrier Reef. The underwater cinematography by Ron and Valerie Taylor captures this stunning environment beautifully, creating an alluring backdrop for the unfolding drama.

Despite its visual appeal, Age of Consent suffers from a lack of substantial plot development. Mason's character often appears passive throughout much of the film; his enthusiasm for the project does not translate into a compelling performance that can overshadow Mirren's vibrant portrayal or even that of supporting actors like Jack MacGowran. MacGowran provides comic relief as Nat Kelly while also contributing moments of male nudity that add to the film's provocative nature. Additionally, Andonia Katsaros delivers a commendable performance as Isabel Marley, Morahan’s sexually repressed neighbour.

The musical score by Peter Sculthorpe does not leave a lasting impression; it was later replaced by Stanley Myers’ soundtrack for non-Australian markets, which did little to enhance the film's overall impact. The music fails to elevate key scenes or evoke strong emotional responses from viewers.

Commercially, Age of Consent fared well in Australia but struggled to find an audience elsewhere, particularly in the United States where Columbia Pictures cut several scenes before release. Despite its mixed reception at launch, Martin Scorsese—an ardent admirer of Powell—played a pivotal role in restoring the film in 2005. This restoration was partly facilitated by Thelma Schoonmaker, Powell's widow and Scorsese’s long-time editor.

In contemporary discussions about Age of Consent, it has sparked debates regarding its themes and character dynamics. The significant age gap between Mason’s and Mirren’s characters raises questions about appropriateness in their relationship—a concern exacerbated by Mirren's own discomfort with her nude scenes during production. Conversely, other cast members likely had more enjoyable experiences on set; Mason himself engaged in one of his few on-screen sex scenes with Australian actress Clarissa Kaye, who would later become his wife.

While Age of Consent may not delve deeply into profound themes or character studies—serving instead as a companion piece to films like Sirens, which also explores Norman Lindsay’s life—it offers just enough stunning scenery, romance, and light-hearted humour to appeal to audiences seeking relaxation and entertainment. Ultimately, there are certainly worse ways for filmmakers to conclude their careers than with works like Age of Consent, which—despite its flaws—remains an interesting footnote in Michael Powell's illustrious but tumultuous legacy.

RATING: 6/10 (++)

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