SNOWTOWN

Australia, 2011, 120 minutes. Colour.
Daniel Henshall, Lucas Pittaway, Louise Harris.
Directed by Justin Kurzel.

Snowtown is based on actual events that took place in the northern area of Adelaide, Snowtown, during the 1990s, arrests made in May 1999 and later convictions. The central character, John Bunting, is considered Australia’s worst serial killer.

This reviewer was not in the country at the time of the arrests and trials and so the story was completely unknown – and all the more shocking for that. Audiences who know the story may find it repellent (and it is) and may not want to see the film (which is well made and serious with its repellent characters and crimes) or may take the opportunity to go behind the headlines and attempt to understand what went on and why. But, it is fair to say, John Bunting is a complex and puzzling character as is the hold he had over a number of associates as well as the young Jamie Vlassakis who was also arrested and is now in prison.

There have been a number of fine and intriguing films on serial killers, Spike Lee’s Summer of Sam and Richard Fleischer’s The Boston Strangler and 10 Rillington Place (about the guilt of John Reginald Christie and Timothy John Evans who was wrongly hanged). Truman Capote’s In Cold Blood (and the film and the TV version as well as the treatment in both biographies of the author, Capote and Infamous) come to mind, indicating that what one person could not do by themselves, if linked psychologically and emotionally with another, then all things, all horrendous crimes, were possible. This is certainly the case with those who followed John Bunting.

Snowtown is often ‘art-house’ in narrative (not always linear), in screenplay and dialogue (often elliptical and symbolic rather than realistic) and in the use of camera and editing. One might say that it is sometimes the equivalent of a free verse poem rather than the visual equivalent of a novel or a true crime story.

Snowtown in the 1990s is brought vividly to life, often by suggestions and allusions as well as the previously mentioned ‘poetic glimpses’ of places, people, poses, minute detail – even when the surroundings are rough, poor and squalid. Many of the characters in Snowtown would be referred to in some quarters with derogatory superiority as ‘trailer trash’.

We are introduced to the family of Elizabeth who has three sons, Jamie Vlassakis, and two younger boys. A neighbour has become friendly with the family, minding them at times while their mother works. It soon emerges that he is a sexual predator. It is this that seems to bring John Bunting to the house – the film is not strong on giving clear information or helping the audience to work out who the characters are who come in and out of the house and does not supply much by way of background story. We just have to take what is offered us by the film-makers, limited as it often is, and work on it ourselves.

John Bunting is genial and is welcomed into the family. He becomes a father-figure to the boys and takes over the household. At various times, a strange collection of friends turns up, at times people in the town gather to talk about the crimes they have experienced and their hardships. John’s leadership is accepted by all. The boys are devoted to him and Jamie comes under his sway.

One of John’s oddest friends is Barry, clearly gay and camp but who is also homophobic and has tracked down names and addresses of paedophiles in the area. John is clearly anti-gay – with a vengeance that becomes literal.

People begin to disappear. Jamie’s step-brother who has raped him is tortured and killed. Various people are recorded as leaving town saying they don’t want to be contacted. John has a system, which Jamie participates in, of benefits’ fraud by assuming the names of victims and cashing in.

Watching Daniel Henshall as John is both mesmerising and horrific. He is an evil man with a smile, a Iago in command, especially towards Jamie who is in thrall to him, unable to make his own decisions, taking refuge in his dependence which is an excuse for his own violence, especially in the killing which ends the film. Lucas Pittaway’s passivity is the perfect dramatic complement to Daniel Henshall’s control.

Snowtown takes us into a world of underprivilege where financial and emotional poverty can be exploited by a cruel but persuasive bully. It takes us into the world of sexual depravity. It takes us into a world of self-appointed vigilanteism where the perpetrators live with double standards about their own behaviour. And, dismayingly, it happened here.

1. The film based on a true story? A sensational Australian story – the most serious serial killer? South Australia? The impact in Australia? Beyond?

2. The value of the film, recreating the atmosphere, society, the murders? The re-enactments? The motivation for the film? Understanding of society, the motivations for murders?

3. The visual style, the non-linear structure, the poetic aspects and images, time, evocation of atmosphere suggestions? The touches of naturalism, realism? Audience involvement – or distanced? The nature of the performances – the non-professional cast? The direction for so many of the cast to react? Especially the character of Jamie?

4. The Adelaide suburbs, Snowtown itself? The 1990s, depression, the centre of the town, the buildings, the young people, idle, unemployed, the townspeople, their lifestyle? Ordinary life? The South Australian countryside? The deserted buildings in Snowtown? The range of the musical score?

5. The opening, Jamie’s dream, the landscapes, the symbol, the man and his throat, cut? The return to this sequence later in the film, when they were driving to Snowtown?

6. The establishing of the town, the characters, the moods – a dour mood?

7. The focus on the family, on Elizabeth, her age, appearance, at home, her work, her children, the ex-husband? Troy and his being the half-brother to the others? The young boys? Jamie, sixteen, passive? The neighbour helping, meals, babysitting?

8. The boys and their age, the way of life, play, the video games, in town, Jamie and his girlfriend, the pasta meal and the discussions, the talk about girlfriends, the neighbour, minding them, the abuse, the grossness of his naked presence?

9. The photos, the close-ups of the boys, their reactions? Elizabeth and her upset, calling the police, wanting to make a statement? The accusations? The arrest, the perpetrator out on bail? John and the chopping up of the kangaroos, tails and paws? Throwing them on the perpetrator’s doorstep? His being ousted, mocked? The ice creams and the writing of ‘fag’ on his windows? The beginning of vigilante action?

10. The neighbours, the range, their gatherings in the house, sitting around the table, the complaints, their experiences of abuse, injustice? Handling their angers? Letting them out? The background of popular prejudices, righteousness, bigotry?

11. The tattooed man, his appearance, his pink dress? His arrival, talking to Elizabeth, the gay background, his life, vigilante stances, his look, his chart, the list of connections, his giving the names and addresses, John and his reliance on him? The information, talk – his death?

12. Jamie waking up, discovering John in the house, making breakfast, his manner, mysterious arrival, his charm? His reaction to the characters? The boys liking him? His talk, ocker style? Jobs, handyman, the mechanics, the bike? Hopes for some stability with his presence?

13. The introduction of his associates, the bearded and gaunt man, the ordinary friend? Their presence, the reasons, following John? Their help with the murders later? The ordinary man being dropped off at an ordinary house? The bearded man, the discussion about the sexual relationship with his wife, the drinking, his confessing that he had told his wife and boasting about burying bodies? John’s reaction? What attracted them to John, why did they keep following him?

14. Jamie, Troy, with his father, at church, the visits, playing the drums? His father stopping him? His return, his assaulting Jamie? The effect on Jamie? John knowing about this, fostering the hatred? The taking of Troy, the torture, fingernail, the attempts at strangling him, John stopping, Jamie goaded into action and killing him? The recording of the message on the phone – that he had gone away? Elizabeth’s anxiety over this?

15. The visit to the church, singing, expressions of faith, the gospel style of church, the ex-husband and Troy at the church, Elizabeth and her sons? The family going home, the visits, the ex-husband trying to reconcile with his wife?

16. John, his cheerful manner, strong-minded, way of talking, the meetings, his language, people agreeing with him, drawing them out, especially for their violent reactions? Elizabeth and her wariness, not wanting Jamie to come in, John stopping her and bringing Jamie in, the growing influence? Elizabeth later being reluctant to agree with the people and their complaints and how to handle them?

17. John, the episode with the kangaroo, cutting off the paws and tail, getting Jamie to help him, in the tins, tipping them on the doorway of the neighbour? Buying the younger kids the ice cream, the graffiti with the ice cream? John, callous, his pet dog, urging Jamie to shoot him, goading him into shooting him, Jamie shooting, not killing the dog, John completing the task? The impact of this?

18. The gradual revelation of John’s activities, the audience wondering where he came from, his background? The background to his campaigns, homophobia, anti-paedophiles? Self-appointed? Right and righteous? Vigilante attitudes and actions? The digging a hole in the backyard? The beginning of the murders?

19. The murder of Troy? Taking him, putting him in the bath, the toenail? The brutality, the strangulation – Jamie not watching, his anger and killing his half-brother?

20. The letters and the frauds? The disabled man and his snake (an image of John)? Taking on the identity of the schizophrenic? Going to Centrelink? The grants? Forging the documents?

21. The selected victims, torture, the messages on the phone?

22. The violence off screen, the kangaroo, the killing of the dog? Suggestions and seeing things through people’s reactions, especially Jamie’s? Troy and the nail? His face and the blood? Strangulation? The close-ups of the corpses?

23. The lyrical interludes, the family going to the beach with John? The children coming back from their weekend away, his presents for them? The birthday party?

24. Jamie as passive, always saying that he didn’t know, a follower, being goaded into action, his belief in John, the combined effort of the two working together?

25. The episode with the gaunt bearded man, drinking, saying that he had told his wife about burying people? John and his reaction, his smile, reassurance?

26. The computer deal, persuading the young man to go, the trip to Snowtown, the stop for a drink, the chat, the driving, the dream landscape repeated, stopping at the crossroad? Going to the deserted bank, John and his associate setting up the scene, the curtain, the barrels? The young man bewildered – and Jamie closing the door?

27. A film about the 1990s, John and his comments on Australianism, suffering, violence, Gallipoli and the killing of the Turks? His sadist attitude, psychopathic? The scene where he leered at the fat woman? The targets – and whether he projected his own inadequacies onto them or not? A possible homoerotic connection with Jamie? His playing on Jamie’s susceptibilities, a psychological abuse of Jamie?

28. The arrests, the information about the sentences – and Jamie testifying against John?

29. The film as a cinema achievement? International reputation? For Australian audiences, insight, a reminder of what happened? A challenge in contemplating this kind of society and what happened there?