This is a response to a suggestion to consider a season of Australian films for a specific purpose: for recent arrivals and/or visitors to Australia. (This is not the season I personally would suggest as representing the best of Australian cinema: I guess I would look to my "top ten" list for that.) The purpose of this group of films is to introduce viewers to some aspects of life in Australia in which they might be expected to be interested as newcomers. So I've been thinking of films which show how Australians live in town and country, and in families and with each other. I've chosen a number of films which in fact show newcomers to the country.
I was thinking of only ten or a dozen films at most, but as usual it has proved to be difficult to be that selective. One of my criteria was that a film be representative of good Australian film-making (in my opinion) so they are all to be found in my "best of" list. I'll write some brief notes on each film.
Rural Life
Sunday Too Far Away (Ken Hannam, 1975)
Such a realistic portrayal of shearers' lives in the 1950s that it might almost be considered to be a documentary, this film was messed about with by the distributors, so the couple of odd strands in the narrative may need some explanation.
Wake in Fright (Ted Kotcheff, 1971)
Urban/Family LifeSo dark in style that it goes beyond realism, this film, directed by a Canadian, presents a bleak view of life in the more remote parts of Australia (whites only).
Lantana (Ray Lawrence, 2001)
One of the best films ever written in Australia, this one allows an insight into half a dozen (urban, bourgeois) relationships of different kinds.
Don's Party (Bruce Beresford, 1976)
From a David Williamson play, this offers a comedic take on bourgeois life with boozing, sexual shenanigans, and party politics - in the context of an election party meant to celebrate a left-wing win.
Mullet (David Caesar, 2001)
Young man returns to country town, but, more to the point, to his mildly dysfunctional but basically loving family.
The Last Days of Chez Nous (Gillian Armstrong, 1992)
Two sisters, but only one Frenchman - not to mention a father and a daughter - and my favourite 'tourism' scene: all written by Helen Garner.
Boys, The (Rowan Woods, 1997)
A very dysfunctional family, and a heinous crime: tough going.
The Castle (Rob Sitch, 1997)
Non/indigenous relationsPossibly the most popular Australian film ever (with Australians), it's actually cutting satire, but somehow appeals to nationalism.
Beneath Clouds (Ivan Sen, 2002)
My personal favourite: this shows what life is like for many rural (but not remote) First Australians - and also vignettes of their relations with (some) non-Aboriginal people. It's beautifully photographed - the director started as a stills photographer.
Dead Heart (Nick Parsons, 1996)
A rather complicated and even exploitative story, this is nevertheless the best fictional depiction of (black and white) life in a remote community.
Rabbit-Proof Fence (Phillip Noyce, 2001)
This is the Stolen Generations film we had to have: it's an emotional experience.
Jedda (Charles Chauvel, 1955)
The Noble man who is too Savage to live; and the little girl torn between cultures: an important film, and not just because it was the first to be shot in colour - and the Chauvels' last film.
Jindabyne (Ray Lawrence, 2006)
It's possible to see this as (merely) a bourgeois relationship morality drama, but the (black-white) cultural clash (tho a bit separate - as is the thriller aspect) is worth attending to.
Australian Rules (Paul Goldman, 2002)
Another take on non/Indigenous cultural collision, this offers (tho superficially) the possibility of conciliation.
The Tracker (Rolf de Heer, 2002)
Growing up in AustraliaAn 'art-film' variation on its central issue, this is worth seeing just to watch David Gulpilil at his best.
Flirting (John Duigan, 1991)
One of Duigan's two films on sexual awakening in the Australian countryside, it has no fewer than four actors who went on to Hollywood.
Devil's Playground, The (Fred Schepisi, 1976)
Catholic culture oppressing both the priests and the boys in a seminary.
Muriel's Wedding (P. J. Hogan, 1994)
A (melodramatic) comedy, so not particularly realistic; but deservedly memorable.
Nationalism/History
Gallipoli (Peter Weir, 1981)
The ANZAC film we had to have: it's much better than it might have been; unforgettable ending.
Breaker Morant (Bruce Beresford, 1980)
An earlier War: the one against the Boers (and the British) - fine performances, sustained seriousness.
Immigrants
Looking for Alibrandi (Kate Woods, 2000)
The most popular of films about immigrants, this one has a light touch.
Lucky Miles (Michael James Rowland, 2007)
The best Boat People film, it also has fun with its Australian characters.
Love's Brother (Jan Sardi, 2004)
A variation on the Promised Woman story, another Italian immigration story.
Silver City (Sophia Turkiewicz, 1984)
One of the earlier films to share the migrant experience, this one was written and director by a woman from Poland.
Romulus My Father (Richard Roxburgh, 2007)
Directed by a fine actor, this migrant autobiography is distinguished by performances by Eric Bana and Franka Potente.
The Home Song Stories (Tony Ayres, 2007)
Another migrant autobiography; this time the parent is from Hong Kong.
Little Fish (Rowan Woods, 2005)
Cabramatta, heroin, Little Vietnam.
New: 11 February, 2010 | Now: 14 February, 2010 | garrygillard[at]gmail.com