REVIEW: Trouble lies ahead in ‘The Lost Flowers of Alice Hart’ 

  • 8/11/2023
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LONDON: There’s a fascinating opening few minutes to Amazon’s new limited series, “The Lost Flowers of Alice Hart” — adapted from Holly Ringland’s novel of the same name. Nine-year-old Alice lives a seemingly idyllic life in the gorgeous Australian countryside with her doting mother and (initially, at least) loving father. But then, over the course of a few scenes, we start to notice that Alice, and her mother Agnes, are sporting some nasty looking bruises, and that her father, Clem, rules his house with a decidedly closed fist. It’s an arresting about-turn, especially for the first episode. Once we’re all up to speed, however, “The Lost Flowers of Alice Hart” wastes no more time — limited, in this case, is right, as the show premieres with three episodes, with weekly releases for the following four. As the reality of Agnes and Alice’s situation sinks in, we learn exactly why a very young girl dreams of setting her father on fire. Soon after reading a book about a phoenix rising from the ashes, their house is consumed in a mysterious blaze, with Alice the only survivor. If that seems a little on the nose, it’s because it is. And it’s not the only time “The Lost Flowers” leans into portentous forbearing. The entire thing is dripping with symbolism. So much so that, on occasion, it can feel a little condescending — hand-holding to the point of being patronizing can leave a nasty taste in the mouth. But “The Lost Flowers” has a secret weapon: Sigourney Weaver as Alice’s grandmother June, who takes her to live on her flower farm. Her (presumably) Australian accent might be a little hit-and-miss, but everything else about her performance is a triumph. Every worried frown and eye flick betrays unspoken secrets and (as yet) unrevealed truths about the farm, Clem, Agnes and even Alice herself. Between Weaver and the extremely talented Alyla Browne as Alice — Alycia Debnam-Carey (“Fear The Walking Dead”) plays the adult Alice later in the series — it’s possible to forgive the more egregious bouts of pretension and enjoy this beautifully shot, scored and acted show.

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