Age of Consent (1969)
James Mason is Bradley Morahan, an Australian artist far away from home and trying to prod his muse in the bowels of New York City. Disgusted with life in the big city, Bradley decides to return to his roots and heads back home to Australia. Once there, he decides to become a Gauguin primitive and sets up shop on a deserted island on the Great Barrier Reef. To his disappointment, however, he discovers the island is populated by a drunken old harridan (Neva Carr-Glyn) and her attractive granddaughter Cora (Helen Mirren). One look at Cora, and Bradley excitedly begins to mix his pigments, offering Cora a job as his model. Soon enough, Cora goes native and poses for Bradley in the raw. Love is, of course, in the air. But just as things seem to being going fine in every way, Bradley's old friend Nat (Jack MacGowran) appears on the island out of the blue and proceeds to rob Bradley blind. Barely recovered from the theft, Bradley must also deal with an irate grandma, who discovers that Cora has been posing nude for Bradley and has been keeping her earnings hidden from granny. Bradley's island paradise is shattered and he finds he has to deal with an old woman threatening to turn him in to the authorities for having a minor pose naked before him and his easel. The character of Morahan was based on real-life Bohemian artist Norman Lindsay, who later became the subject of John Duigan's Sirens (1994). ~ Paul Brenner, Rovi … More
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Critic Reviews for Age of Consent
Age of Consent is never as provocative or engrossing as it should be, but there is enough of interest (especially Mirren) to make it worth a look.
Though it lacks the vivid touch from his earlier days, it has a surprisingly comfortable, relaxed feel, still vigorous but also at peace.
Audience Reviews for Age of Consent
I watched all the way through this movie before I found out that the "child" in this movie was Helen Mirren. Who knew she was young once. Actually I didn't like the movie that much. I would have preferred that the painter stayed true to his art and not thrash around with the kid at the end.More
Michael Powell's last directorial endeavor, the resurrection of James Mason's career, and the role that put Helen Mirren on the map. This beautiful little film is a must-see for a stunning Mirren alone, although it is a great comment on the 60s. Thinking about it now, as Powell's last, I see parallels with Shakespeare's The Tempest and even, perhaps, with Faulkner's The Reivers. I say again, flixster friends, this is a true must-see.More
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