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Cedar Boys
Reviewed by Sandra HallAugust 3, 2009
A dazzling directorial debut focuses on dissatisfied teens with big
Dangerous games ... Rachael Taylor and Les Chantery get caught up
in drugs in Cedar Boys.
GenreDramaRun Time100 minutesRatedMA 15+CountryAustraliaDirectorSerhat CaradeeRatingstars-3half
DAVID FIELD was making The Combination, his film about
the turbulent lives of a group of young Lebanese-Australians in
Sydney's western suburbs, when writer-director Serhat Caradee was
at work on his story set in the same milieu.
The two films are rather like siblings. Field's is the nervy,
boisterous one while Caradee's pauses now and again to mull over
the petty irritations of being typecast as a troublemaker because
you're young, male, Lebanese and happen to have ventured out of
your own neighbourhood.
Tarek (Les Chantery) and his friends are sick of doormen who
won't let them into the clubs with the prettiest girls and traffic
cops who pull them over because they don't like the look of them.
But most of all, they're sick of not having enough money to move
from west to east.
And here's the vital difference between this film and The
Combination. In Field's film, the Lebanese had the best food,
the wildest music and the happiest parties while their
Anglo-Australian neighbours spent their evenings sitting morosely
in front of television with beer in hand. Here, a different dynamic
is at work. The parties in this film are given by spoilt, eastern
suburbs rich kids who are willing to have a trio of Lebanese
westies around as long as they can be relied upon to bring along
some ecstasy or cocaine.
Caradee found his initial inspiration in Martin Scorsese's
Mean Streets and the film, which was shot digitally, has a
muted palette and a soberly realistic take on the dilemmas at its
core. Tarek works in a panelbeaters' shop, stoically enduring the
wog jokes that constitute his co-workers' brand of repartee and
yearning to start a business of his own. As he knows, his chances
are slim. To calculate the odds, he has only to look at his
exhausted father, Yousaf (Taffy Hany), a taxi driver recently
forced on to the night shift after years in the job, and his older
brother, Jamal (Bren Foster), who's in prison on a robbery charge
with no money to mount an appeal.
Nonetheless, he can't help hoping and his friends, Sam (Waddah
Sari) and Nabil (Buddy Dannoun), entertain the same sense of
optimism. Sam is the cockiest of the three. A wiry character with a
quick temper and even quicker eye for the main chance, he's already
pursuing a career as a small-time drug dealer.
Nabil, too, is nurturing plans for a scam. While making his
rounds as a contract cleaner, he's begun to suspect that one of the
apartments he visits is a drug drop. And, after he talks the
initially reluctant Tarek into helping him search the place, the
scheme pays off.
The resulting haul of ecstasy tablets launches the friends on a
heady trip to what looks deceptively like the big time. Tarek is
now poised to get everything he wants – including Amie (a
glossy Rachael Taylor), an eastern suburbs blonde with a taste for
It takes a while before you're drawn into the boys' world –
possibly because Caradee is so intent on getting it right. It's Sam
you notice first because he and his bundle of macho impulses are
such a magnet for trouble. As the boys cruise the streets in
Nabil's car, listening to hip-hop, he's perpetually on edge while
the other two bicker amiably about what they should do next.
Nabil, with his bulky frame and air of unhurried deliberation,
fancies himself the practical one and while Tarek doesn't entirely
buy this proposition, he's willing to extend the benefit of the
doubt because he has no visible alternative beyond a future of
quiet desperation. It's this mixture of hope and apprehension that
makes him such a poignant character.
The scam itself unfolds with an unnerving inexorability. To the
boys, it's all proceeding with an exhilarating smoothness. We,
however, can see the crash looming, since Caradee has already
treated us to some ominous glimpses of the netherworld to which
they're about to be introduced.
It's a sure-footed directing debut and a piece of writing
humming with dialogue that strikes such a sharp ring of conviction
that only afterwards do you see the cleverness in it. And the
script does manage to save one or two surprises until its final
I have only one reservation. It lies with the film's murky
lighting, damped-down colours and tight framing. It makes it seem
uniformly claustrophobic when there are times you need a window to
the gilded Sydney existence the boys see as being just beyond their
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