Great melodramas focus on the particular emotional state of an ordinary life, amplifying it onto the big screen and strengthening its force of feeling. A great recent example is Judd Apatow’s Trainwreck, which, for all its raucous and riotous comedy, is a deeply perceptive distillation of intensely felt feelings. Mediocre melodramas, of which Johan Cronje has made an exemplary work, the new Afrikaans release Wonderlus, stretch emotions thin across the screen rather than expanding them; they reduce feelings not to their essence but to their semblance; they distill bathos instead of distilling experience. As I’ve remarked before when writing about South African films, the approximation of feelings they grasp at is one prompted and affirmed by the heavy professional emphases on bland superficial production quality, and the default industry gearing towards television.
Read others’ responses to Wonderlus here.
The set-up of the drama involves starting off in the wake of the rougher, tenser moments, and jumping back and forth between the two time periods (the night of, and the morning after) to weave together the various plot strands involving the handful of featured characters. In true South African romantic melodrama/comedy fashion, it centres on a picture-perfect destination wedding, on some luxury farm location a few hours out of the city; there’re chalets and a dam amidst golden highveld grasslands; there’s an irritable guest and her obtuse boyfriend, who bicker constantly and fruitlessly; there’re immature groomsmen and their tittering bridesmaid counterparts; there’s the groom himself, gracious and forthcoming, and even prettier than his young bride; and there’s a nervous air of unanswered doubts and unsettled bodily drives.