And I am going to let Megan step in for me with her notes on the new Criterion edition of PICNIC AT HANGING ROCK, which is right here.
16 comments:
Gerard
said...
Ebert praised this to high heaven in a review. I used to go through his yearly collections and pick out the four star flicks and watch them.
I cannot recall if I watched this all the way through. I must have been only 15-years-old or so and know I was bored with it.I should re-watch this and another Australia set flick, WALKABOUT.
Of that trio, WALKABOUT might be my least-favored, but only because Roeg is so caught up in his hobbyhorses in a way that Weir, a more thoughtful artist as I see him, isn't. But WALKABOUT is perhaps the best Roeg film I recall, though I remain very fond of CASTAWAY beyond the delightful display (and remarkably assured performance) of Amanda Donohoe, and a similarly good performance (even if a bit typecast, but really, who better?) by Oliver Reed. I hope everyone's seen THE LAST WAVE.
My comment to Megan: The mystery of sexuality especially in its Victorian social context, as the film explores the subject, seems to be the subject of the film, and your analysis finds much that illuminates it. I think the frustrated reactions of some to the film and its non ending tap back into the maddening mystery of sexuality we all once struggled through and consider "solved," though I'd argue that we never do.
THE LAST WAVE was Weir's next film after HANGING ROCK. And his most explicitly horror film so far. Also, easily the best work I've seen from (and the best use of) Richard Chamberlain.
The question at the heart of THE LAST WAVE runs deeper than it first appears: "Who are you?" What's most remarkable is that every character in the story, even those who know enough to ask, would really rather not know the answer, fear that they already know...
Patricia Abbott is the author of more than 125 stories that have appeared online, in print journals and in various anthologies. She is the author of two print novels CONCRETE ANGEL (2015) and SHOT IN DETROIT (2016)(Polis Books). CONCRETE ANGEL was nominated for an Anthony and Macavity Award in 2016. SHOT IN DETROIT was nominated for an Edgar Award and an Anthony Award in 2017. A collection of her stories I BRING SORROW AND OTHER STORIES OF TRANSGRESSION will appear in 2018.
She also authored two ebooks, MONKEY JUSTICE and HOME INVASION and co-edited DISCOUNT NOIR. She won a Derringer award for her story "My Hero." She lives outside Detroit.
Patricia (Patti) Abbott
SHOT IN DETROIT
Edgar Nominee 2017, Anthony nominee 2017
CONCRETE ANGEL
Polis Books, 2015-nominated for the Anthony and Macavity Awards
16 comments:
Ebert praised this to high heaven in a review. I used to go through his yearly collections and pick out the four star flicks and watch them.
I cannot recall if I watched this all the way through. I must have been only 15-years-old or so and know I was bored with it.I should re-watch this and another Australia set flick, WALKABOUT.
I saw it on a big screen many years ago and loved it.
Good, thought-provoking article. I have not seen the film, though I've heard of it.
I especially remember the great music.
My all-time favorite flick.
A few weeks ago, TCM showed this along with The Last Wave and Walkabout. A terrific evening of cinema.
Oh, boy. Do I wish I had caught that trio. Yes, a truly haunting movie.
I saw PICNIC AT HANGING ROCK years ago. I need to watch it again after reading Megan's great review!
Of that trio, WALKABOUT might be my least-favored, but only because Roeg is so caught up in his hobbyhorses in a way that Weir, a more thoughtful artist as I see him, isn't. But WALKABOUT is perhaps the best Roeg film I recall, though I remain very fond of CASTAWAY beyond the delightful display (and remarkably assured performance) of Amanda Donohoe, and a similarly good performance (even if a bit typecast, but really, who better?) by Oliver Reed. I hope everyone's seen THE LAST WAVE.
Speaking of Who Better, I'm not sure there's a better candidate for this task right now than Megan.
I am not sure if I have seen those two.
Fascinating and thoughtful article! I have to see that film and really let it sink in I think.
Also saw PICNIC on a huge screen and have never forgotten it. Seeing it again recently, I was surprised to learn that it was not a true story.
My comment to Megan: The mystery of sexuality especially in its Victorian social context, as the film explores the subject, seems to be the subject of the film, and your analysis finds much that illuminates it. I think the frustrated reactions of some to the film and its non ending tap back into the maddening mystery of sexuality we all once struggled through and consider "solved," though I'd argue that we never do.
THE LAST WAVE was Weir's next film after HANGING ROCK. And his most explicitly horror film so far. Also, easily the best work I've seen from (and the best use of) Richard Chamberlain.
The question at the heart of THE LAST WAVE runs deeper than it first appears: "Who are you?" What's most remarkable is that every character in the story, even those who know enough to ask, would really rather not know the answer, fear that they already know...
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