Wake in Fright’s Aggressive Hospitality

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Wake in Fright

Waiting for a train he'd rather not have taken: Gary Bond in Wake in Fright

“It could be worse; the supply of beer could run out.”
-Doc Tydon (Donald Pleasence) assesses his home town of Bundanyabba

Wake in Fright is not a film about the 2010 Australian federal election (that one might be called Lie Awake in Despair), but it is a film which says uncomfortable things about Australia, and therefore is not entirely unrelated to this winter of political discontent. It lays waste to the cherished Australian ideal of mateship and beyond that specific cultural provocation, it can be seen as a film about friendliness in general. Many places are described as friendly, without the further interrogation which might reveal the differences between, say, the way people are friendly in northeast Ohio, and they way they are friendly in Istanbul. The study of friendliness is rich territory for art and the fact that nearly everyone in Wake in Fright could be described as friendly is disturbing indeed.

The film’s protagonist, John Grant (English actor Gary Bond), is certainly alienated from his surroundings, even if he hardly ever finds himself alone. Someone, however disagreeable, is always on hand to buy him a beer, however unwelcome. Unable to finance his aspiration to expatriate himself from the Lucky Country, he finds himself about as fastened to Australia as a man could possibly be, the sole school teacher in the one pub outback town of Tiboonda. Grant is stuck in a modern form of “indentured servitude” to the state Department of Education, to which he has paid a thousand dollar bond in return for university tuition and guaranteed employment. It must have seemed a good deal to him at first, an educated Australian with intellectual pretensions, but without connections or money.

Wake in Fright begins about as promisingly as it is possible for a film to begin. From a high angle, perhaps a water tower, we see a 360 degree pan of Tiboonda. There is almost nothing to it; nothing happens, railway tracks stretch off into the distance, all under a bleaching summer sun. The place is utterly charmless and completely sinister. School lets out and Grant boards a train, looking forward to spending the six week Christmas holiday in Sydney, which may not be up to his standards of sophistication, but at least has beaches (sadly, most Tiboondas would have lost their rail service by 2010). The train fetches up in the large mining town of Bundanyabba (based on, and filmed in, the town of Broken Hill in far western NSW) where our hapless protagonist plans to spend the night before flying to Sydney. From here I won’t give anything away, but suffice it to say an unbelievable amount of beer is consumed and things go very pear-shaped.

Upon its release in 1971, Wake in Fright was not a success (though it played in Paris for five months). Back then it might have been rejected as a heartless dissection of the national character, but it has endured because its dissection is in fact too curious to be heartless. The film succeeds because it is simultaneously pitiless in depicting the brutality of its setting and sympathetic to all its characters. Almost everyone we meet has his reasons, and the film somehow maintains a bemused objectivity which transcends the occasional moment of arty subjectivity. The national character, like any concept so broad, is complex and John Grant’s listless intellectualism is as questionable a tendency in Australian culture as the raucous ockerism around him.

Wake in Fright came out shortly before the emergence of the Australian New Wave and was directed by a Canadian, Ted Kotcheff, from a novel by Kenneth Cook, which might account for the almost anthropological feel of its best moments. In those moments, which are almost constant in the first half of the film, the camera seems obsessed by details; by the way beer is poured, by the protocol of two-up (a famous Australian coin game), by grubby pub rooms and the fried eggs which accompany the school teacher’s steak dinner. In Bundanyabba, Kotcheff recognized strong similarities between the induced madness of frontier city life in Canada and Australia (for those interested in the peculiar concept of human settlement where it ought not to exist, I highly recommend Pierre Berton’s book Klondike, about the Canadian gold rush and the Yukon boomtown of Dawson). In Wake in Fright, the belligerent insecurity of such a place takes the form of the incessant question “how do you like the ‘Yabba?, an insecurity which of course echoes the famous Australian need for external reassurance(‘…and what do you think of our latest Prime Minister, Mr. Obama?’).

Ritual in the Outback: playing two-up in Wake in Fright

It would be satisfying to be able to call Wake in Fright an out and out masterpiece, but it is more like a placeholder for a masterpiece. Its first half is incredibly well constructed; dread accumulates from so many directions, in so many guises and so deftly that you begin to feel the film could credibly become anything — horror, suspense, arthouse surrealism or the document of a strange way of life. The performances are universally stellar, especially Donald Pleasence’s depiction of Doc Tydon, a local doctor too alcoholic, to filthy and too libertine to practice anywhere more distinguished than Bundanyabba. Though the school teacher develops in an interesting way — he ‘wakes in fright’ to the fact that he actually enjoys the primitive male aggression around him — I feel the film is simultaneously let down by excessive violence (there is almost unwatchable footage from a real kangaroo hunt) and by an needlessly soft conclusion. There is a temptation for critics to prove their seriousness by praising films for their honesty when they depict such explicit violence, but this reduces watching movies to a test of machismo. In the case of a film which sets out to be as psychologically precise and closely observed as Wake in Fright, the moment when blood flows represents a loss of control on the part of the filmmaker. It is clear from the moment the school teacher arrives in Bundanyabba that the most horrific violence lies barely concealed by the town’s odd decorum; it is there in the lurching male bodies in the pub, in the dead eyes of the town’s women and in the unmentionable consequences of not letting your new best mate shout you a beer. The power of the film persists as long as the full brunt of this violence remains implied. The film is ultimately about the way John Grant’s mind becomes trapped in Bundanyabba, and therefore the notorious kangaroo hunt seems like a bait-and-switch, the substitution of physical horror for a genuinely disturbing resolution (or non-resolution) of John Grant’s psychological torment. Is the true torment his realization that he could not bear to live anywhere else?

Wake in Fright is available in a beautifully produced DVD edition, with well-chosen special features and an informative booklet of essays about the film’s history. Its restoration is a saga in itself, with the original negative thought lost only to turn up marked for destruction in, of all places, a vault in  Pittsburgh, PA. The Australian National Film and Sound Archive rescued the materials and a Sydney lab generously provided a digital restoration for the price of a photochemical one. The DVD contains side by side comparisons between original and restored footage, and the difference is startling, to the point where the director says it has never looked better. The restoration has revealed intricate detail in the shadowy interiors and blown-out exteriors without tarting up the pleasing graininess of the era’s film stocks. The Archive, and all those who worked on the restoration have done us all a great service in bringing this film, a true classic, back into the light.

Doc Tydon (Donald Pleasence), driven mad by sun and flies

About the author

Alan Miller

Alan Miller is a graduate of the Sydney University Faculty of Architecture and the Tisch School of the Arts at New York University. A fanatical cyclist, he is a former Sydney Singlespeed Champion. He reports on cycling, film, architecture, politics, photography and various mixtures of the above.

Readers Comments (1)

  1. AvatarAngela Ledee April 1, 2011 @ 23:53

    Director Ted Kotcheff’s Wake in Fright honored at MOMA
    A surprise private screening celebration in honor of Canadian Director Ted Kotcheff’s 80th Birthday.

    (New York, NY, March 28,2011)— The restored 1971 Australian classic Wake in Fright was screened The Sunday on March 20th at The Museum of Modern Art (MOMA) in The Lewis B. & Dorothy Cullman Education & Research Building (The Celeste Bartos Theater) as part of a surprise private screening celebration given by his wife Laifun in honor of his 80th Birthday. 

    The event was co-hosted by Chris Meloni (Law & Order SVU) and Antonio Saillant (Angel Light Pictures).  Mariska Hargitay (Law & Order: SVU), Brian Dennehy and Michael Talbott (First Blood) and many other close friends of the honoree attended this historical event and a special reception dinner followed immediately after the screening at the restaurant Bice NY.

    Wake In Fright, released in 1971, is a sharply observed drama about a schoolteacher stranded in a hostile country town. Based on a novel by Kenneth Cook, it stars Gary Bond alongside Chips Rafferty, Donald Pleasence, Jack Thompson and Sylvia Kay. Directed by Canadian Ted Kotcheff, produced by George Willoughby and written by Evan Jones.

    At the time of production, Kotcheff had directed two films, the Tiara Tahiti (1962) and Two Men Sharing (1969). After Wake In Fright, Kotcheff would continue to have a successful career as a director. His later films included The Apprenticeship of Duddy Kravitz (1973), as well as the football comedy “North Dallas Forty” (1979), which he also co-wrote, Fun with Dick and Jane (1977), First Blood (1982), and Weekend at Bernie’s (1988). In the 1990s, he returned to directing for TV and the executive producer of Law & Order: Special Victims Unit.

    38 years after its 1971 debut, ‘in competition,’ at the Cannes Film Festival, this film was declared a Cannes Classic in 2009 and was screened again as part of the 2009 Cannes Classics retrospective program, Kotcheff holds the honor of having one of only 2 films to have ever been screened twice at Cannes.

    A landmark film in the renaissance of Australian cinema in the 70s, Wake in Fright was lost for many years and has been restored by Australia’s National Film and Sound Archive and re-issued and is now considered one of the greatest Australian films of all time. The film is distributed via Madman Entertainment.

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