In 1968 Australia, racial tensions were at an all-time high. Aboriginals had just begun to be recognized by the government, but on a more local level the transition was slow and painful. Throw in the onset of war in Vietnam and it was a time of tumult and incredible change. Stories of societal prejudice during this time period are nothing new, especially when set against the backdrop of a minority group trying to make it big in the world of musical entertainment, but The Sapphires has a chance to tell it from a rarely seen perspective. While the film never quite lives up to that potential, it's still an infectious crowd-pleaser with a seemingly endless array of 1960s R&B jams to keep the mood light.
Based on the true story of screenwriter Tony Briggs' mother and aunts, the
film follows a foursome of Aboriginal women who break free of their shabby life
on a reserve, not to mention from their shabby country music numbers, and take
on the soulful hits of Otis Redding, Sam and Dave, and of course Marvin Gaye.
The music speaks for itself. It's uplifting and there's always a new hit right
around the corner, so that the real dangers and consequences of the world the
girls are trying to thrive in are almost never felt.
Instead, the film aims mostly for lighthearted and upbeat charms, with only
a sprinkling of racial tension thrown in. Tough-minded Gail (Deborah Mailman),
vain Cynthia (Miranda Tapsell), and talented Julie (Australian Idol
runner-up Jessica Mauboy) are sisters who have had it rough being treated as
less than human for so long, but they continue to harbor hopes of hitting the
big time with their ragtag musical group. They have the skills, but even when
they outshine others at local talent shows, the color of their skin is all that
anybody sees. It's not until they meet the perpetually drunk talent show emcee,
Dave (Chris O'Dowd), that things start to turn around. 
‘You’re black and you’re singing country and western music. It’s just
wrong." Between swigs of booze he convinces them to emulate The
Supremes, taking on the soulful tunes his Irish heart holds so dear. As their
manager, he makes other decisions that threaten to harm the group personally as
much it helps them professionally. First, he draws tension amongst the sisters
by making Julie the lead singer rather than Gail, with Cynthia pushed into the
background. Then he brings in the fourth sister, Kay (Shari Sebbens), who is
noticeably lighter of skin and is the object of Cynthia's unending scorn.
It's the presence of Kay that shows where The Sapphires misses so many
golden opportunities to be something truly special. Cynthia's resentment of Kay
doesn't have to do with her white skin; it's that she feels Kay left them all
behind for the chance of a better life. Kay's lighter appearance marked her as
one of the "Stolen Generation", when Aboriginal who could pass for
Caucasian were kidnapped right out of their homes and raised by white people.
This is potentially weighty stuff, having the chance to see Kay deal with a
past she didn't ask for, but nevertheless saw the benefits from. However, it's
only a temporary issue and the anger between the sisters is never more than
surface material. 
That said, the interaction between the cast is undeniably fun and feisty
stuff, especially as the group becomes a success and heads off to Vietnam to
entertain the troops. It's obvious from the beginning that Gail and Dave's
constant bickering would lead to some sort of romance, but what's perhaps most
surprising is the great chemistry between O'Dowd and Mailman. Always a funny
guy, it's only recently that we've begun to see hints of the capable leading
man O'Dowd can truly be. He's a constant ray of light in the film, nearly as
affecting as the soundtrack. Mailman, who played the same role in the stage
version, fits comfortably into a role she obviously knows very well. The
musical numbers are impeccably performed, thanks to the bulk of the cast having
extensive singing backgrounds. There isn't that one track you wish they had
just left out because it was done so badly.Directed by Wayne Blair and shot mostly in New South Wales, the film has a considerably more authentic, dusty look to it early on. The Vietnam sequences, especially when bullets start hitting a little close to home, don't quite measure up to scrutiny. But nobody's coming to The Sapphires to see a war movie, so it can be forgiven. That's pretty much the attitude Blair and Briggs bring to the whole thing, choosing to send the audience home with a smile and a song, but not much more. It's consistently disappointing how The Sapphires undersells issues of racial identity, but it makes up for it with great music, a lot of laughs, and moving performances.
