Unsung Hero (2024)

Unsung Hero Review

Notwithstanding, the attention-getting hook in “Unsung Hero” isn’t just about finding out how one family came up with two of today’s successful contemporary Christian acts, though it is a fascinating premise. Nor does it mean knowing that this group of Australians went through numerous hardships to remain as a united front and with determination. Even so, the interesting approach it takes is almost like Steven Spielberg did with his own childhood turbulent period in “The Fablemans”; where Joel Smallbone co-wrote and directed together with Richard L. Ramsey also plays in this same genre by depicting his father who was grappling with financial and personal crises. That’s the way the directors have re-presented such situations involving character building which help tell an extraordinary story about family and God.

By 1991 David Smallbone (Joel Smallbone) has hit his stride. As one of Australia’s top Christian artist concert promoters he has been well supported at work bringing acts like Stryper into the country. His loving wife Helen (Daisy Betts) takes care of their home life while they are raising their children: Rebecca (Kirrilee Berger), Daniel (Paul Luke Bonenfant), Ben (Tenz McCall), Joel (Diesel La Torraca), Luke (JJ Pantano) and Josh (Angus K.Caldwell). His hard work has given them life’s luxuries, like fancy cars, a sprawling mansion and private schools for his kids but soon his courage will be tested.

When he is unable to sell out an Amy Grant show due partly to a nationwide recession that wipes out all their investments, David loses everything they had saved up for years. His backup plan to bring Eddie DeGarmo (Jonathan Jackson) over from the States also vanishes overnight. With another baby on the way and no other job prospects available, he devises a daring plan: take his family to America so they can represent a friend of his who is an artist in Nashville. Their journey is rife with obstacles, from the harrowing customs detention to the toll that David’s providership struggles take on him psychically. While the Smallbones shouldered their pride to face such deadly situations, they are human beings, and people have limits ones that they need to put back together.

Giving his hero a rich internality both in front of and behind the camera, Smallbone provides delicate shading. The title seems to alludes to David’s personal growth from these trying times as he learns humility and acceptance; however it also refers to Mrs. Smallbone as she demonstrates motherhood through this specific lens, making her equally important thematically with her husband. These sequences of Helen taking on heart-wrenching challenges while transforming sad moments into funny escapades not just for others but herself as well (as coping mechanism) are reminiscent of classical heroism built around determination, sacrifice and humanity. In her understated performance Betts suggests these attributes while bringing out other aspects that lie deep within.

The film thrives on subtle poignancies that create an overall tearjerking effect rather than overwritten sentimenalities which occasionally intrude upon its narrative. This is seen in the few lovely grace notes throughout which include some much needed release humor (think Vegemite jokes or “Crocodile Dundee” references). Or there is also a moment when Rebecca St James reveals why she chose her stage name this will make your heart stop! (Eat your heart out “Solo: A Star Wars Story”!) Look sharp enough and you will spot family members making brief appearances throughout the movie.

Katherine Tucker’s production design is an embodiment of Smallbones’ transformation that also reflects the positive changes in their environments; this is done by portraying the growth of their family ties. Moreover, Johnny Derango manipulates lighting cues incognito as he moves across different beats in the story. This ploy establishes the presence of David’s Dad (Terry O’Quinn), who always seems to have a smile on his face even when he isn’t on screen, and creates a whole series of emotional moments at the end where three arcs intersect.

All contribute to keep their family alive, but some could be said to be more developed than others given that all had to survive together psychologically, which was hard especially for those who were still very young and were forced into being adults too suddenly. Moreover, these problems are not just confined within parents only; rather they touch on teenage daughter’s struggle with confidence as a performer and songwriter. However, Ben is defined only by his career as a lawyer while Daniel is depicted as a chef and Josh seems nothing more than an accountant. They beg for inclusion through such witness.

There could have been more emphasis between two sides of charity although saving family Christmas may require assistance from outsiders like Jed (Lucas Black) and Kay (Candace Cameron Bure), it makes one feel like he or she is using charity. On top of this, filmmakers establish reassuring message on success when it comes to achieving the American Dream. Other films need to acknowledge that throwing money at something does not solve everything. To realize such an amount of meaningful insight portrayed in Smallbone’s approach here – whenever he steps into his father’s shoes truly understanding what it must feel like inside psyche suffering from inward conflict – certainly represents dynamic trickery indeed. It is important for faith-based audience members to understand that our flaws are what make us human beings.

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