“It’s come to my attention that you don’t know who I am” – is a line that Cate Blanchett delivers with deep and devastating effectiveness when she first enters THOR RAGNAROK. Could it be that she is referencing her old acting teachers, Kevin Jackson and myself? Not certain – but what this line does reflect is the subject of ‘identity politics’ that has come to dominate so much of modern theatre and film.
So – here we are – at the end of 2018 – that brief time in which we reflect on what we have seen and done over 2018, amidst the plethora of ‘Best of’ lists. I am not necessarily into the ‘Best of ’ etc. I have a fervent dislike of art becoming a kind of superficial competition, which is why I don’t watch a lot of TV. My lists are far more personal and revealing, reflective of those productions that affected me in one way or another, and have stayed with me for various reasons. I have my favourites, certainly, but they are not necessarily the “Best” of anything. I like the respective following works – because they moved me – that’s all.
I feel very fortunate to be living and working in Adelaide, partly because I am able to see a relatively vast range of national and international productions each year. This is primarily due to the respective festivals, such as the Adelaide Fringe Festival, the Adelaide Festival, the Adelaide Film Festival, the Adelaide Cabaret Festival, and (my favourite) the Oz-Asia Festival.
So – here we go. However, let me first state that I did not see any opera this year, nor did I see much dance and ballet, so these kind of productions are not on my list. All the theatre productions listed below were different in their own way, yet each profoundly moved me as well as enlightened and thrilled me.
THEATRE (in roughly chronological order)
JOHN BUCCHINO: IT’S ONLY LIFE – Davine Productions (USA/AUST. – Fringe Festival)
FLESH & BONE by Elliot Warren – Unpolished Theatre (UK – Fringe Festival)
KING JACK QUEEN by Baboab Tree Theatre Company (UK – Fringe Festival)
SMOKING WITH GRANDMA (Threewords Playwright (China – Fringe Festival)
KINGS OF WAR based on the ‘History’ plays by William Shakespeare – directed by Ivo von Hove and produced by Toneelgroep Amsterdam (Adelaide Festival)
US/THEM by Carly Wijs and BRONKS, Belgium (Adelaide Festival)
FLA.CO.MEN – Israel Galvan (Spain – Adelaide Festival)
MEMORIAL by Alice Oswald – directed by Chris Drummond with Helen Morse (Brink Productions) (Australia – Adelaide Festival)
PATTI LUPONE (USA – Cabaret Festival)
JOHN CAMERON MITCHELL (USA – Cabaret Festival)
NASSIM by Nassim Soleimanpour (Iran – Oz-Asia Festival
SECRET LOVE IN PEACH BLOSSOM LAND by Stan Lai (China – Oz-Asia Festival)
SUTRA by Sidi Larbi Cherkaoui (Netherlands/China – Oz-Asia Festival)
FAITH HEALER by Brain Friel – directed by Judy Davis with Colin Friels, Alison Whyte and Paul Blackwell. (State Theatre of South Australia.)
THE PURPLE LIST by Libby Pearson (UK – Feast Festival)
SEUSSICAL by Stephen Flaherty and Lynn Ahrens– Northern Light Theatre Company
LINES by Pamela Carter (UK) – directed by Cory MacMahon (UK)
GODS OF STRANGERS by Elena Carapetis (State Theatre of South Australia)
Whilst this is really just shameless self-promotion, nonetheless, I am very proud of the productions that STARC the company I have formed with Stefannie Rossi and Marc Clement, produced in 2018. This includes TOYER by Gardner Mackay, TWO by Jim Cartwright, and REASONABLE DOUBT by Suzie Miller. Plus – there was Genet’s THE MAIDS.
Suzie Miller’s REASONABLE DOUBT, Elena Carapetis’ GODS OF STRANGERS, as well as Jada Alberts’ BROTHERS WRECK were the outstanding new Australian plays produced in Adelaide in 2018. I did see other new works in Sydney and Melbourne – but that’s another story, and none of them had the same impact on me as these three works. I may be biased re REASONABLE DOUBT but it was an honour and privilege to direct and produce the Australian premiere of this play.
FILM (not in any order of preference)
SHOPLIFTERS (2018) directed by Hirokazu Kore-eda (JAPAN)
CRAZY RICH ASIANS (2018) directed by Jon M. Chu (USA)
A STAR IS BORN (2018) directed by Bradley Cooper (USA)
BOHEMIAN RHAPSODY (2018) directed by Bryan Singer (USA.UK)
HEREDITARY (2018) directed by Ari Aster (USA)
GURRUMUL (2018 directed by Paul Damien Williams (AUSTRALIA)
Films released at the end of 2017 and seen in 2018
SWEET COUNTRY (2017) directed by Warwick Thornton (AUSTRALIA)
THE INSULT (2017) – directed by Ziad Doueiri (LEBANON)
A FANTASTIC WOMAN (2017) directed by Sebastian Lelio (CHILE)
CALL ME BY YOUR NAME (2017) directed by Luca Guadagnini (ITALY)
THOR – RAGNAROK (2017) directed by Taika Waititi (USA/NZ)
DARKEST HOUR (2017) directed by Joe Wright (UK/USA)
THE POST (2017) directed by Steven Spielberg (USA
THREE BILLBOARDS OUTSIDE EBBING, MISSOURI (2017) directed by Martin McDonagh (USA)
THE DISASTER ARTIST (2017) directed by James Franco (USA)
STAR WARS: THE LAST JEDI (2017) directed by Rian Johnson (USA)
THE GREATEST SHOWMAN (2017) – directed by Michael Gracey (USA)
BLADERUNNER 2049 (2017) – directed by Denis Villeneuve (USA)
Rather an eclectic group – and there are others – but these are the ones that have stayed with me.
I was also very fortunate in representing the National Film and Sound Archive in presenting during the 2018 Adelaide Film Festival (which was excellent) the newly restored prints of Gillian Armstrong’s STARSTRUCK (1982) and John Duigan’s THE YEAR MY VOICE BROKE (1987). The latter, in particular, was very well received, and it was marvellous to see the very young Noah Taylor and Ben Mendelsohn who most certainly have gone on to have quite wonderful careers.
2018 also marked the 100th Anniversary of the Raymond Longford’s and Lotte Lyall’s THE SENTIMENTAL BLOKE (1918), which premiered in Adelaide on the 26 November 1918. I couldn’t attend the anniversary screening in Adelaide, so I watched this great Australian silent film classic at home.
Re Australian films – I did see a number, including Stephan Elliot’s SWINGING SAFARI, Mark Grenfell’s THE MERGER, Chris Sun’s BOAR, Ben Howling’s CARGO, Marion Pilowsky’s THE FLIPSIDE, and Heath Davis’ BOOK WEEK. I also finally caught up with Simon Baker’s BREATH (2017) and Ben Young’s HOUNDS OF LOVE (2017). A number of these films I admit I watched at home as they either had a limited cinema release and/or went straight to Netflix.
So – a wacky combo of romantic comedies and horror. None of these films was ‘brilliant’, but they were OK; in fact, more than OK. I particularly liked and appreciated the romantic comedies, perhaps the most difficult of all film genres to successfully pull off.
It was, however, Paul Damien Williams’ documentary GURRUMUL and Warwick Thornton’s SWEET COUNTRY that were the stand-outs – especially SWEET COUNTRY.
Warwick Thornton’s SWEET COUNTRY is terrific! And yet – I don’t know anyone who has seen it. Seriously. I saw it at the movies in Mitcham and I was one of three people in the session. Rather depressing – especially for such an excellent Australian film, but the reality is that it has been a bit of a disaster at the box-office, and continues to be an unknown despite good reviews etc.
SWEET COUNTRY, however, did trigger and inspired me to explore in more detail the nature of Australian ‘westerns’, and the ‘Western’ as a film genre in general.
The ‘Western’ is arguably the most common form of film in World Cinema, beginning with the Tait’s THE STORY OF THE KELLY GANG (1906), the first feature film in World Cinema, and the shorter THE GREAT TRAIN ROBBERY (1903).
Subsequently, it is possible to argue that it was the ‘Western’ that began cinema and feature film. There are so many sub-genres in regard to ‘Westerns’, including musicals, comedies, horror, and science-fiction. Virtually all major ‘stars’ have at least one ‘Western’ in their body of work – and often more than one. Nor is the ‘Western’ confined simply to US film – they are everywhere; for example, the influential Italian/ Spanish ‘spaghetti westerns’ of Sergio Leone. Australian ‘Westerns’ have the strange title of ‘meat-pie’ Westerns.
There is not the time nor space to elaborate on this wonderful conundrum (what does the ‘West’ mean? Etc), but SWEET COUNTRY certainly joins the pantheon of great Australian ‘Westerns’ that includes WAKE IN FRIGHT, THE MAN FROM SNOWY RIVER, THE TRACKER, THE PROPOSITION, MYSTERY ROAD, GOLDSTONE, as well as earlier films such as ROBBERY UNDER ARMS, BITTER SPRINGS and even JEDDAH.
The ‘Western’ is also very much a part of contemporary US films. Here is a list of some of the modern US ‘Westerns’ that I have watched. John McLean’s SLOW WEST (2015) and Ti West’s IN A VALLEY OF VIOLENCE (2016) being two in particular that I enjoyed and would thoroughly recommend.
THE HOMESMAN (2014) – directed by Tommy Lee Jones
SLOW WEST (2015) – directed by John McLean
BONE TOMAHAWK (2015) – S. Craig Zahler
THE HATEFUL EIGHT (2015) – Quentin Tarantino
IN A VALLEY OF VIOLENCE (2016) – Ti West
BRIMSTONE (2016) – Martin Koolhoven
Looking back – WOW – quite pleased with myself that I have actually seen so much.
Finally – did Ms Blanchett wickedly reference either Kevin Jackson or myself in THOR RAGNAROK?
I don’t really know – but it certainly has been suggested. No matter – but if and whenever I see this wonderful ex-student of ours I do intend to say to her in a rather deep voice – It has come to my attention that you don’t know who I am (Kevin), quickly followed by – Have you been listening to a word I’ve said!!! (Me)
Bring on 2019.
TK
Ken G. Hall’s Tall Timbers (1937) is a romantic melodrama that is highly watchable, particularly for its spectacular bushfire climax. Ken G. Hall had longed to make a film about the timber industry in contemporary 1930s Australia. The original story by Frank Hurley was adapted into a screenplay by Frank Harvey. Much of the joy of Tall Timbers, however, lies with the cinematography by George Heath who one was one of the prolific D.O.P’s of Australian cinema in the 1930s and 1940s.
The story centres on a horse called Stormalong who is owned and cared for by Joan, a young Canadian horse trainer living in Australia. She is helped by Tommy Dawson and together they start winning races. Eventually, Stormalong becomes a favourite to win the Melbourne Cup. However, a group of corrupt gambling syndicates plot to destroy Stormalong. First, they arrange for his stable to be burnt down; then they kidnap Tommy; and finally, at the Melbourne Cup whilst the race is on there is a life and death race to try and stop a sniper from shooting Stormalong. 
husband and child but had an affair with Frank Leighton who was playing Tommy. Her husband found out and threatened to kill Frank Leighton. Ken G. Hall had to hire detectives to help gently but firmly get the husband and child out of the country.
Ken G. Hall’s The Silence of Dean Maitland (1934) is not a great film, but it has something rather intriguing about it that makes compulsive viewing. Furthermore, it throws a particular mirror up to its contemporary society with certain issues still relevant today.
One of the most popular Australian ‘melodramas’ in the first decades of the 20th Century was The Squatter’s Daughter (1907) by Bert Baily and Edward Duggan. The story essentially involves a dramatic love-triangle between two male rivals and the feisty heroine – Violet, the ‘Squatter’s Daughter’. Partly why this film is in my ‘Top Australian films’ is because it exemplifies the creation of a particular type of Australian female persona – the Aussie ‘shelia’.
and sometimes not – she was seen as the ideal companion to the idealized romantic persona of the contemporary Australian male. These characteristics are also found in Sybylla Mervyn in Miles Franklin’s My Brilliant Career (1901), who to a certain extent prefigures Violet in The Squatter’s Daughter (1907), and many others to follow – such as Barbara in Lawson Harris’ A Daughter of Australia (1922).
It is, however, Ken G. Hall’s 1932 film version that perhaps gives the best glimpse of how thrilling contemporary Australain audiences found The Squatter’s Daughter. Hall’s film, however, although based on the original play, is considerably different. The characters have been renamed – Violet is now Joan – and certain characters and situations completely removed. For example, the sub-plot in the original play involving the bushranger Ben Hall has gone; its place is a sub-plot involving racism.
Steele Rudd’s On Our Selection (1899) was one of the most popular works in Australian fiction for nearly fifty years. It was a series of satiric ‘sketches’ involving a rural Australian family, the Rudds, battling the elements, neighbours, politicians, and themselves. It marks the beginning of a number books by Steele Rudd about this lovable family of ‘country bumpkins’. The original group of ‘sketches’, On Our Selection, in 1912 became a highly successful play, written by Edmond Duggan and the then popular Australian actor Bert Bailey who also played the central character of Dad Rudd.
The play became the basis for the 1920 silent film version as well as Charles Chauvel’s 1932 ‘talkie’ On Our Selection. This was the film that really launched Charles Chauvel’s career. He was initially reluctant to do it, considering it as ‘old-fashioned’, however, based on the success of the play and the 1920 film he was persuaded that it would be a big hit with the Australian public – and it was.
