Directed by: Gregor Jordan
Distributed by: REP Distribution
Written by Livvy O’Brien
90/100
In 1999, the world was introduced to Heath Ledger and his extraordinary talent. Before his breakout role as Patrick Verona in “10 Things I Hate About You,” Ledger scored the role of Jimmy in “Two Hands.” Jimmy, a 19-year-old bouncer, works on the bustling main strip of Sydney’s infamous Kings Cross during its prime. One night, he is tasked by crime boss Pando (Bryan Brown) to deliver $10,000 to a woman in Bondi—pretty straightforward, right? He takes the money and Acko’s (David Field) car and heads to Bondi. However, unbeknownst to him, the woman has died from a heart attack. Frustrated, Jimmy decides to wait it out at Bondi Beach, hoping to complete the delivery later. He spots Alex (Rose Byrne) in the water and, on a whim, buries the cash in the sand before diving in to talk to her. As he gets closer, he realises that it isn’t Alex, but a woman who only looks like her. Disappointed, he returns to the beach, only to discover that the cash has been stolen (Average Bondi experience). Jimmy turns to his sister-in-law Dierdre (Susie Porter) for help, and she devises a plan to rob a bank so he can repay the cash he owes to Pando.
“Two Hands” is so authentically Australian that I can’t help but grin the entire time I’m watching it. The film’s unapologetic embrace of its roots brilliantly subverts stereotypical Hollywood tropes, making it a refreshingly unique experience. It is acutely self-aware, knowing exactly where it stands within the crime genre. Much like Australia itself, the film doesn’t take itself too seriously, often taking the piss out of its own characters and scenarios. It’s a parody of Australia that still feels incredibly true to the essence of Aussie culture. The good guys drive Holdens and the bad guys drive Fords – flawless representation. This perfect balance creates a relatable yet thrilling exploration of Australia’s underbelly. The film’s dialogue is drenched in dry, deadpan, and self-deprecating humour, making it culturally accurate and deeply relatable for Australians. It’s rare to watch a film where the dialogue is so distinctly Aussie that only those who grew up here can fully appreciate the jokes. Australian humour is often self-referential, and “Two Hands” captures this beautifully, delivering a cinematic experience that resonates deeply with anyone familiar with the culture.
Jimmy is naive and often makes stupid decisions. His poor choices frequently land him in trouble, and without Ledger’s portrayal, I reckon that the audience wouldn’t root for him. Ledger’s natural charm and charisma instantly endear Jimmy to viewers, making us sympathise with him despite the fact that his predicaments are largely self-inflicted. Director Gregor Jordan smartly cast the striking Ledger, recognising the necessity of having a magnetic actor for the role. In an interview with FilmInk, Jordan explained, “Casting the role of Jimmy was always critical. When you’re presenting a character who basically does very stupid things, you have to have an actor who’s likeable. Otherwise everyone will just think he’s a fuckwit.” This clever casting decision transformed Jimmy’s frustrating character into a compelling one, adding an appealing sense of vulnerability to Jimmy. Pando is not your typical Hollywood crime boss—he’s a polo shirt and thong-wearing gangster who loves bonding with his son over origami. (For reference, in Australia, we call flip-flops “thongs.”) Menacing yet oddly endearing and hilarious, Pando reminds us of a bloke we all know. He’s like the ocker uncle at the gatho who, by the end of the night, has definitely had a few too many. Alex breaks the mould of the traditional love interest. Visiting Sydney from Mudgee, she’s shy and feels out of place. She enjoys photography but hesitates to share her work due to fear of judgement. Alex is charmingly different without falling into the cliché “not like other girls” trope. Jimmy is immediately head over heels for Alex, completely awestruck by her presence. Their chemistry is palpable, adding a layer of heartfelt authenticity to the film’s gritty storyline.
“Two Hands” is not just another crime film of the 90s. What makes it unique and quite niche is its commitment to encapsulate Australia’s laid back nature and extreme use of profanity. In the same interview, Jordan admits, “I wanted to make it very Australian – what made it different was its very ‘Aussieness.’ I was aware while I was making it that overseas audiences would struggle with it.” As a result, “Two Hands” holds longevity and is an Australian classic. Similarly, Ledger expressed “Something that we haven’t really seen in Australian film is the gangster side of Sydney. We see the American godfathers driving around in their Rolls Royces, but we don’t see the Aussie godfathers driving around in their Stubbies and singlets, drinking VBs in their Holdens.”
I really don’t want to knock this film because, in many ways, it’s perfect and a must-watch for every Australian. However, the subplot involving Jimmy’s ominous brother (Steve Vidler), credited as ‘The Man,’ felt out of place and was confusing at times. If the film had delved deeper into ‘The Man’s’ character, he could have significantly enhanced Jimmy’s character arc. As it stands, he only appears sporadically, often just when you’ve forgotten about him. Nonetheless, even with this minor flaw, “Two Hands” remains a brilliant piece of Australian cinema.
“Two Hands” Trailer
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