The Pretend One (2017) is an Australian feature film co-written by Tony Prescott and James Raue, with Prescott directing. The feature stars Geraldine Hakewill as Charlie, a young woman who lives with her Dad on a cotton farm in Condamine QLD. Her best friend is Hugo, played by Michael Whalley, who happens to be imaginary.
It goes without saying that there is a natural on-screen chemistry between Hakewill and Whalley. I highlight this fact because combined, these two are cinema magic. They are captivating and complementary in every way, and equally good on their own. Hakewill’s performance is emotionally accessible and she effortlessly immerses herself into the role, with each expression, movement and line spoken. Charlie may be humble and awkward in nature but she’s also entirely relatable. Whalley’s portrayal of Hugo wins you over, within minutes of screen time, through heart and humour, and that isn’t an exaggeration.
The cinematography by Robert C. Morton, captures the beauty of the environment and the people within it. Soft lighting and pastel tones make for a dreamy effect that is very aesthetically pleasing to the eye. The initial aerial shots of the cotton farm as the movie begins is a nice touch. The bond between Charlie and her Dad is something to watch for, as Roger is played beautifully by David Field.
I saw this film debut at the Gold Coast Film Festival 2018 for its World Premiere and was not disappointed. It also went on to have its International Premiere at Newport Beach Film Festival in California soon after. When at a film festival, I find the process of discovering, viewing and engaging with festival content to be a highly rewarding experience. When supporting a local festival such as GCFF, it makes for the perfect combination. What’s more is when you come across a gem like The Pretend One.
We let ourselves imagine all sorts of scenarios when we’re young and often that includes playing pretend. Why is it that a woman with an imaginary friend is considered odd? Well, have you met Hugo? He’s quite the charmer. He’s a bit of a dork, but a loveable one at that. On screen he’s always there, through every little moment that Charlie goes through. He’s even there when meeting the new guy in town, Guy, who happens to be from the ABC.
Guy needs access to the local community of farmers for research for a pilot he’s doing. Charlie decides to help him, which conveniently allows him to hover around her for some time, in the chance of an interview with her cotton farmer father, much to Hugo’s frustration.
We also see displays of masculine ‘blokey’ culture through Guy’s project, which kicks off at the local bar. It involves filming and interviewing farmers and asking what attributes of themselves they believe to be overlooked, what qualities they look for in a woman and if they have ever been in love.
Roger responds to the questions, replying with witty answers such as how you shouldn’t pigeonhole a woman’s qualities as it leaves no room for surprise. On the question of falling in love, he mentions Rose, Charlie’s mother who is not seen in the film. He goes on to say how she had the imagination to see him as something more than he was. Finding it hard to cope, he leaves the room.
Hugo loves Charlie unconditionally, there’s no doubt about that. He loves Charlie as she is, and sees her through all her flaws. When Guy dares to call Charlie ‘weird’, Hugo reacts by more or less punching him in the back of the head. He is always there, and has always been there. He is her supporter, her champion, basically the love of her life. Jealous? Yes. Constant running commentary on every aspect of her life? Yes. But it’s when Charlie starts to recognise her own strengths and find her own voice, that we start to get a sense of who she really is. It makes you wonder what Hugo’s role really was all along.
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By: Joanna Letic