OLEANNA Down Under. Susy Connor (Gia Carides) claims she was sexually harassed by her boss (Anthony LaPaglia) and fired when she resisted his advances. He says she's lying, and was let go for poor work performance. A mediator (Catherine Wilkin)
tries to get to the bottom of the story, but as the court date approaches the only thing that becomes increasingly clear is that there's more to the situation than anyone is saying. Based on a play by Australian dramatist David Williamson and filmed with workmanlike efficiency by Richard Franklin, this examination of sexual power struggles in the workplace, the social arena and the family is well-intentioned but awkwardly schematic. Susy and her siblings (Michael Veitch and Zoe Carides) are a walking checklist of psychological and social issues: Lesbian-feminist sister Katy is a downsized
architect who drives a taxi; neglected brother Paul is a born-again Christian and struggling businessman whose girlfriend is footing the bills. Susy herself is a snobby, sullen tart plagued by promiscuity and stubbornly revealing clothing. Bad boss Gary is a poor boy who clawed his way into the ranks of privilege (mostly through an opportune marriage), seething with working-class resentment and mad at the world of would-be social engineers who might make it easier for others to achieve what he's achieved. And make way for the charming, abusive father; the frigid, socialite wife; the smarmy lawyer; and Gary's condescending, upper-crust boss. This is familiar stuff, but the Australian locations and accents make this seem fresher than homegrown product would. --Maitland McDonagh
