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A dark, occasionally caustic, comedy in which a self-pitying, ABBA-worshipping, Aussie lass looks for love in all the wrong places. Colorfully offbeat.
Muriel is a young misfit adrift in a small Australian town called Porpoise Spit. She loves attending weddings just to witness two people starting new lives -- although it seems likely that Muriel herself will never have one. Finally, however, she gets fed up with being an onlooker and decides to take some action: she accepts a blank check from her mother that's supposed to start her off on a career selling makeup, and cashes it in for her parents' life savings. Flush with mad money, she goes on a tropical vacation and then hightails it to Sydney to avoid the shame of possible jail time. There, Muriel renews her acquaintance with the vivacious Rhonda, who introduces her to new possibilities and adventures. But Muriel still lacks one important thing: a husband. How far will she go to get one?
Producer Jocelyn Moorhouse is the director of "Proof" and "How to Make an American Quilt." She is married to screenwriter and director P. J. Hogan. Rated BBFC 15 by the British Board of Film Classification.
"...MURIEL is a crowd pleaser....[An] exuberantly funny Cinderella story..." - 03/23/1995 Rolling Stone, p.128
"...Brassy energy and performances..." - 03/10/1995 USA Today, p.2D
"...[Griffiths] generates real feeling and shows impressive range..." - 05/23/1994 Variety
"...The film's sunny effervescence will linger....[Mr. Hogan] combines humor and pathos in all his characters, keeping his film nicely off-balance in the process..." - 03/10/1995 New York Times, p.C15
"...An intentionally hilarious dayglo soap opera....Cogent....Affecting..." - 04/01/1995 Sight and Sound, p.49
"...Marvelous....Made with energy, raucous good humor and noticeable wit, its ability to recognize the poignancy in its situations makes it special..." - 03/10/1995 Los Angeles Times, p.F1
"...MURIEL'S WEDDING has a lot of big and little laughs, but also a melancholy undercurrent, which reveals itself toward the end of the film in a series of surprises and unexpected developments..." - 03/17/1995 Chicago Sun-Times, p.34