Plot
The central character of the film is Tommy Matisse; his name combines the title of The Who's 1969 rock opera Tommy and the last name of twentieth century French painter Henri Matisse.
Tommy is a Melbourne boy studying at the Royal Academy of Music in London. He is a violinist and composer who hears music in unusual sources such as the ambient noises of a train in the London Underground or the chirping of crickets. He is a rebel against the traditions of classical music and displays this by bringing a homeless woman living in the Underground on stage for a concert.
A sympathetic professor decides that he is the type of innovative artist needed to revive a dying opera artform. Having shocked opera's establishment, he returns home to Melbourne on the death of his younger sister Emma, who suffers a fatal overdose after experimenting with drugs at a rave dance party. He discovers a CD of her own mixes and decides to enter the genre of electronic music to follow the path she was pursuing in the hopes of discovering more about his sister and how she became involved in this dance world. Emma's death acts as a catalyst that drives Tommy and his girlfriend Alysse apart. In despair, Alysse falls prey to a sleazy entrepreneur named Hector Lee who owns a club called Trance-Zen-Dance and who is also a drug dealer. Hector Lee has a young assistant called Trig who is a VJ, and is always getting new footage and talent.
Read more about this topic: One Perfect Day
Famous quotes containing the word plot:
“Ends in themselves, my letters plot no change;
They carry nothing dutiable; they won’t
Aspire, astound, establish or estrange.”
—Philip Larkin (1922–1986)
“Persons attempting to find a motive in this narrative will be prosecuted; persons attempting to find a moral in it will be banished; persons attempting to find a plot in it will be shot.”
—Mark Twain [Samuel Langhorne Clemens] (1835–1910)
“James’s great gift, of course, was his ability to tell a plot in shimmering detail with such delicacy of treatment and such fine aloofness—that is, reluctance to engage in any direct grappling with what, in the play or story, had actually “taken place”Mthat his listeners often did not, in the end, know what had, to put it in another way, “gone on.””
—James Thurber (1894–1961)