What About Sal? is an Australian independent feature film and the third film written by, co-starring, and directed by screen legend John Jarratt (Wolf Creek).
It stars Gerard O’Dwyer as the lead character Sal, a Downs Syndrome man who, following his mother’s diagnosis of end-stage lung cancer, embarks on a journey to find his father: an unknown former rock singer his mother had a one-night stand with. If Sal can’t find him, he faces the prospect of living the rest of his life in a group home, unless he can secure parental guardianship.
The story of What About Sal? is all things heart-warming, saccharine-sweet, and unapologetically Australian. You can feel the love that was poured into the film and the passion that Jarratt has for the thematic and tonal expressions that follow Sal. His crumbling world is made more difficult by constantly battling to be considered an independent person with a modicum of self-advocacy. Arguably, not particularly fictitious.
Jarratt supposedly birthed the idea at a football game, where the most vocal supporter of his beloved South Sydney Rabbitohs was a Downs Syndrome man supported by his mother. Jarratt was spurred by his passion but probed by a question: what happens when his mother isn’t around anymore? From this very human and very honest question, What About Sal? was born.
The film follows a rather narrow and well-worn path, with limited subversion or detours from the main outline of the plot. The twists and turns are all telegraphed, and you know what you’re getting into, but if the saying “it’s not about the destination, it’s about the journey” were to ever ring true, that is certainly the case here. It is similar to the feeling of revisiting a childhood home that spurs a thousand memories, or looking at pictures of places and people gone by. You know what you’re in for, but it still punches you in the gut reliably, every single time.
Unbelievably funny and full of heart, it would be impossible for me not to indulge in absolute admiration for lead actor, Gerard O’Dwyer as Sal. O’Dwyer’s individuality and personality absolutely beam off the screen. Confidently taking centre stage throughout the entire picture, he delivers an excellent performance that is both heart-warming and heart-breaking. There is a difficult balance between exploitation and representation, but I truly believe Jarratt and co. have done an outstanding service in advocating for the independence and uniqueness of Downs Syndrome individuals, allowing us to laugh along, but never at Sal, convincing us to root for him every step of the way.
This is exemplified best by Sal’s characterisation. He holds down a job, enjoys hobbies and to the characters within his inner world he isn’t a Downs Syndrome man, he’s just Sal. As the film progresses, Sal slowly becomes the lifeline for the people in his life and a slow realisation dawned that the person observed as dependent on society, by society, is, in fact, keeping everyone else together. This unfolds in a touching and understated way, but would hardly be as impactful if not for O’Dwyer’s performance. The true beauty of the film lies somewhere in that moment, and the many moments like that.
Conversely, John Jarratt plays Tommy, Sal’s drunken former rock-star father, earning a living playing cover songs at retirement homes. Tommy hasn’t seen Sal’s mother since their one night together in 1983 and is not aware of Sal’s existence until he appears on his doorstep one day. Jarratt is wholly convincing as an absent alcoholic, generating both pity and utter disdain for his existence, which probably suggests he nailed it.
It is tough to expand on more of Jarratt’s performance with it occurring largely in the second half of the film, but in avoidance of spoilers, one of the best performances of the film comes as Tommy’s tough exterior cracks under Sal’s pressure, and he confesses that the night with Sophie (Sal’s mother) was “the best night of my life”. It is here that Jarratt convincingly sells Tommy as worthy of redemption, taking him from deplorable wretch to asshole-in-recovery in a fluid motion. Some of the scenes following have their moments that might feel a little unearned or rushed, but largely it works.
Visually, the film is hardly revolutionary, but then again, it doesn’t really need to be. It does, however, provide several immensely beautiful shots that consistently operate as postcard potential for Tourism NSW and the city of Sydney. With some occasionally slick editing and angles that keep the film from suffering one of Australian cinema’s biggest sins: being flat and boring. By no means will it win any Best Director, Editing or Cinematography Oscars, but it does enough to warrant Jarratt a round of applause in the director’s chair, despite some jankiness here and there.
Ultimately, What About Sal? is a feel-good movie about life, death, failure, addiction, love, and faith. If you’re not someone who enjoys being reminded of their humanity, the ticky-tacky flaws of this film will be difficult to go past, as I’ll admit there are many. If the charm doesn’t swoon you, you will nitpick a few wooden lines or scenes that feel like they’re made to get to the next one. For the most part, I don’t believe these are dealbreakers because a masterpiece it is not, nor was it ever aiming to be, and more importantly, who cares? The juice on this one is ultimately worth the squeeze, just bring tissues.
Fun Fact:
Australia’s second film to star a Down Syndrome man in the lead role, Kairos is the first.
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