AN INDECENT OBSESSION

Australia, 1984, 106 minutes, Colour.
Wendy Hughes, Gary Sweet, Richard Moir, Jonathan Hyde, Mark Little, Tony Sheldon, Bill Hunter, Julia Blake, Bruno Lawrence, Caroline Gilmer.
Directed by Lex Marinos.

An Indecent Obsession is based on the novel by Colleen Mc Cullough. Dissatisfied with the American production of The Thorn Birds, Mc Cullough ensured an Australian production for this novel. Locations on Lord Howe Island were used. (There was more satisfaction with the film version of her novel Tim, starring Mel Gibson and Piper Laurie.)

The Indecent Obsession of the title is duty. The name of the heroine is symbolically Honour. While there is a focus on sexuality, relationships both heterosexual and homosexual, the indecency of the title refers to the standing by honour and duty.

The film was originally intended as a telemovie but was finally produced for cinema. Wendy Hughes seems at first miscast as Honour Langtry (more, perhaps, a Glenda Jackson type). The supporting cast is very good, especially Jonathan Hyde as the superior officer, Mark Little at the beginning of his film career as the crazed Ben, Bruno Lawrence sturdy as the blind Matt, Tony Sheldon as the hypochondriac Nugget. However, Richard Moir as Loose Daggart is successfully sinister and the focal point of the drama. The supporting cast includes Bill Hunter and Julia Blake.

Direction is by former actor Lex Marinos, who moved into directing television episodes as well as movies and telemovies.

1. Audience interest in the plot? Colleen McCullough's work? A version of her novel?

2. 1945 setting, the tropics, the beauty of the tropical islands, climate? The war, the jungle, the beaches? The wards - especially the Troppo ward? The piano score?

3. The title, the pun on Honour? Decency and duty?

4. The structure of the movie: the presentation of the ward, the group as a group, as individuals? Sis and her power, authority? The newcomer, the intruder, the catalyst? Melodrama? The end of the war and the return home?

5. The drama of the interplay of the men, their various manias, the nature of their madness, suffering, provocation, control, rules, affection, approval, attention and attention-seeking mechanisms? Helping one another, vying with one another?

6. Wendy Hughes as Honor? Her lack of experience, her age, in the army? With Captain Donaldson and her commission? The clash with the matron? Her running of the ward, her ideas, concern, tact, the necessity of her presence, supervision, rules? Her care of each one and understanding them? Michael's arrival, her reaction to him, judging him, attracted? Helping, information? The discussions with Colonel Chinstrap about Michael? The table sequences, the cleaning? The beetles? The change in his behaviour, her behaviour favouring him? Saving and protecting him? Her scenes by herself, trying to cope? The lipstick? Loose and Susan? The night of the drama, her sense of responsibility? Loose's death? The investigation, her hold over Chinstrap? The nature of the pact, the men telling her the truth, her blaming herself for Loose's death? The ending, talking with Michael? The future - and her watching out of the window as the men left?

7. The portraits of the men, together in the ward, meals, discussions, games, washing up, the dormitory, the washroom, swimming, sunbaking, working? The chess games? The drink and Colonel Chinstrap giving it to them? Loose as the catalyst of reactions amongst the men? Angers? His mockery of Ben's religion? Michael and the confrontation with Loose? Their need for having Sis with them? For rules, handling crises? The importance of the death, the men's reaction in the shower block, protecting Sis, the pact amongst themselves for caring for Ben?

8. Neil, his aristocratic style, his experience of cowardice? Knowing Honor from the past and drawing on that? Authority, control and manipulation? His smooth reaction with each of the men? Clashes with Loose and Loose being able to bring him down? His superior attitude, confidential? Protecting Sis? The pact and the manipulation of Michael away from Sis? His admitting it to Honour?

9. Ben, his background as an orphan, grandmother? The inculcation of evil? Religion and religiosity, his prayers? Loose's mockery of this? Trying to be good? Intimidated by Loose, irrational anger and outbursts? Friendship with Michael, dependence on him? Loose's attack and his killing Loose? Cutting up the limbs? His madness, the men making a pact to look after him? Michael taking him back on to the farm so that he would never break out?

10. Matt, his eyesight, placid character, his angers against Loose? Wife and family? Dictating the letters? His change and willingness to undergo tests?

11. Nugget and his hypochondria, antagonism, the rules, cleaning up, being sick, whingeing, attention-seeking devices for Sis?

12. Michael and his arrival, seeming normal, in the ward, reactions, with each of the men, blending into the system? Loose reading his file? Talk, the advance in the shower block? His fitting easily with the men and talking with them, encouraging them? The flashbacks for his memories? The soldier and his love for him, the authority, the homosexual officer and the propositions, the violence of the battle, death? Michael's own angers and self-doubt? The pressures, the shower block and his breakdown? Ben protecting him? Honour protecting him, the night, the sexual encounter, the aftermath? The nature of the pact, his telling the truth to Honour, his taking Ben home?

13. Loose and his manner, type, personality? Delusions of grandeur? Acting? The encounter with Susan, the reaction to her, inflating himself, the sexual encounter, her confrontation with him? His cruelty with each, knowing each man's weak point and playing on it? Power games? His smooth manner with Sis? Reading Michael's file, the advance, his missing and then coming back on time? The shower, Ben's killing him? The impact of his death?

14. Sue and her work, friendship with Loose, believing him, sexual relationship, anger with Honor?

15. Chinstrap and his authority, Matron and her stiff manner, their relationship? Giving the alcohol to the men? Use of authority and power, threats?

16. The staff, the experience of the war, isolation, support - especially of Honour?

17. The end of an era, the end of the war? The starting of a new era in post-war life?