THE EYE OF THE STORM

Australia, 2011, 120 minutes. Colour.
Geoffrey Rush, Charlotte Rampling, Judy Davis, Colin Friels, Helen Morse, Elizabeth Alexander, Robyn Nevin, Alexandra Schepisi, Maria Theodorakis, John Gaden.
Directed by Fred Schepisi.

Adapting a Patrick White novel for the screen. A tall order. Judy Morris has undertaken it and readers of White’s novels will argue about its fidelity to the book (some forgetting that it is an adaptation by the screenwriter and an interpretation by the director, not the book itself) or whether it moves away from the book. Others of us will have to comment on the film itself.

It is fair to say, and Patrick White might be pleased to hear, that this is an ‘art house cinema drama’. It does not make concessions to a multiplex audience who may find it sometimes precious and, perhaps, mostly tedious. But, it is a rewarding film with a complexity of plot and characterisation, expressed in White’s literary as well as vernacular language. And, then, there are White’s themes of what it is to be Australian, Australians in Europe, the cultural cringe to Europe, the not always admitted class distinctions in Australian society and White’s seemingly inherent snobbery as well as his frequent anti-snobbery stances. Challenging food for thought for the local audience. A great number of questions about Australian society for overseas audiences.

This is a film about death.

The opening shot, overhead, of Charlotte Rampling luxuriating in the surf, gulls flying, sun shining, moments of peace after the gale winds and the rain, her happiness in the eye of the storm is suggested as a sublime moment for her by the voiceover from her actor son, Basil (Sir Basil Hunter, played by Geoffrey Rush). And the film returns to these moments at the end. In the meantime, the audience has come to know Elizabeth Hunter, the mother, quite well, seeing her through her own memory flashbacks, both earthy and ethereal, the (often jaundiced) perspective of her dilettante son and Dorothy, her surface-pretentious daughter, the Princess de Lascabenes (Judy Davis). Son and daughter have returned as their mother is ailing – they are always in need of money and their memories of their mother and her influence on them are a mixture of resentment and the need to escape.

Charlotte Rampling gives a performance that commands admiration, most of her scenes as the aged, sick woman (the make-up artist has done a convincing job), but some as her younger, glamorously wilful and assertive self. Geoffrey Rush has no trouble in presenting a West End ‘luvvy’ theatre personality, partly slumming it in Sydney (and hoeing into food wherever he sees it and a presumptuously roving predator eye for women). Judy Davis has always been able to embody twitchy personalities and she does Dorothy and her twitches expertly.

And that is not all. The supporting cast has a number of veteran Australian actors of screen and stage who have made their mark in the past. Fine to see Helen Morse as the German cook who is able to sing and dance 1930s Berlin cabaret songs. Also to see Robyn Nevin as the wife of Elizabeth Hunter’s devoted lawyer (played by John Gaden). Elizabeth Alexander plays the princess’s ageing friend. Alexandra Schepisi is good as the devoted nurse who comes to expect a lot from Sir Basil but is doomed to disillusion. And Colin Friels is the labour leader who expects to become PM in 1972 (though he is more Bob Hawke than Gough Whitlam). (Judy Davis and Colin Friels, longtime husband and wife, have some wonderful, acerbic scenes together.)

While most of the action takes place in the Hunter mansion or at restaurants, hotels and social parties, there is the contrast with the ordinary Australians, nurses, workers, country house managers, who are presented as common-sensed, especially compared with the sometimes idiotic wealthy, and salt of the earth workers with decent families.
So, while the social themes are to the fore, so are themes of illness, increasing senility and dementia, the elderly coming to a more peaceful understanding of their lives. And this in the context of mother-children relationships. The children show some of their worst sides. But, it seems that they are actually learning something with their mother’s illness and the prospects of her going into a home. It leads to a strange mutual dependence episode in the relationship between brother and sister. But, just in case we thought they had undergone a permanent change for the better, we realise that leopards and most humans do not change their spots.

Directed by Fred Schepisi with great attentiveness to White’s waspish attitudes and dialogue, with sensitivity to human foibles and their consequences, the film has been photographed by Ian Baker who has worked with Schepisi since the 1970s. The score was composed by Paul Grabowsky.

For many readers, the novels of Patrick White were more admired than enjoyed. With The Eye of the Storm there is much to admire and, within its two hours, there is much to enjoy (though you might not really want to have met the Hunter family in real life).
1. Patrick White and his reputation? Widely read? International? An adaptation of his work?

2. Patrick White and his world, Sydney, Centennial Park, Sydney society, the theatre world, the wealthy, the contrast with ordinary people, the suburbs, workers, in the countryside? His fascination with class? Snobbery and anti-snobbery?

3. Patrick White and satire, waspish attitudes, acerbic dialogue, critique?

4. Affection in Patrick White? For his characters or not? The characters for one another – or not?

5. The talent for the film, Fred Schepisi as a director, the cast, the technical production, the musical score?

6. The arthouse perspective of the film, the drama?

7. Interiors, the mansion, the decorations, the enclosed rooms, the staircase, kitchen, curtains and lounges? The pubs, the restaurants? The Sydney socials? The contrast with ordinary hotels, homes, the country house? Different worlds and the same world?

8. Themes of class, Australia and class, aware of this or not? Elizabeth and her origins, marrying money, the effect on her? Her son, Sir Basil? Her daughter, the Princess de Lascabanes? The reactions to her children, titles, deference, the world of privilege?

9. The framework of the eye of the storm, Elizabeth and her being happy, the bright light, the water, the gulls, the overhead shot? Resuming this sequence at the end, after the storm and destruction, Edvard and his disappearance? Her moments of peace and grace? Readiness for death? The voice-over of Basil and his comment about how significant this occasion was for his mother?

10. Charlotte Rampling’s performance, Elizabeth and her age, her illness, dying, memories of her husband, the men in her lives (**life?), Edvard, Arnold, relationships? Impetuous and passionate? The variety of flashbacks with her memories? Her moving in and out of consciousness? In and out of memories? The importance of being made up, her weak? Being presentable for her children, her expectations of their visit? Their reactions and her reactions? Sardonic? Maria, her dependence on her, physical needs? The emotional bonds? Flora, her daily care? Lotte, making the meals, companionship, the cabaret songs and dances? Her coming to the end of her life, the value of wealth, the will, the gifts to the various members of staff, to Basil and the princess, her purpose? Her reaction to her children wanting to put her in a home? Wanting to change the will? Giving to Arnold? And his relishing of his ring? Dorothy’s visit, talking with her mother, the commode, her collapse and death? The portrait of Elizabeth?

11. Dorothy, highly-strung, her life in Australia, overseas, marrying the prince, his leaving her, her legacy in Paris, her life in Paris, using French, her arrival, bedraggled, going to the hotel, no charge? Changing, makeup, going to visit her mother, the tensions, talking, using French? At the hotel and the issue of paying her bill? At the party, with Cherry, Cherry and her deference, inside the house, their talk, their memories? The encounter with Athol, the ride in the taxi, his comments about her and her mother? The truth about her mother? Arnold, giving the gifts, her spending the money? The confrontation with her mother about the home? She and Basil going to the country house, finding the country too far from the city? The effect on her? The Mac Rory family, the encounter with Rory and his bluntness? Her return, being with her mother when she died? Later with Basil, the comment about their sexual behaviour as an indiscretion? Her change, making the bacon and eggs in the kitchen? Her return to Paris, not permanently changed?

12. Basil, his knighthood, his being a West End theatre ‘luvvy’? His arrival, his acting all the time, delaying his visit to his mother, making people vow silence? At the hotel? Meeting his friends, the chatter, plays and performance, his plans? The sexual encounter? Finally visiting his mother, his performance for her? Their interactions, the memories of the past? His observations of Flora, his roving eye? With Flora? Taking her out, seeming to promise her many things? The restaurant with his friends, the talk, alienating her? The gift of money from his mother? The discussions about her going to a home, the discussions with Arnold? Going to the country house, with Rory, with the children, in the room, going for the walk, his memories, cutting his foot, being bound? Rediscovering something of his past? Absent for his mother’s death? Wanting to say goodbye to her? His return to the country? The finale and the performance of the play about her? Dramatising his mother?

13. Arnold and Lal, the bonds between them, Lal not wanting to visit Elizabeth? Arnold’s devotion, his work for managing Elizabeth’s estate and money? The will, the discussions about going to the home? Lal’s visit to Elizabeth, the gift of the necklace, her comments about rings, hurting Lal by talking about the past? Lal and Arnold, living together, a peaceful resolution? Arnold’s anger at her revealing the truth about the home? Arnold, with his ring? Managing the estate and the auctions after Elizabeth’s death?

14. Maria, the nurse, devout, her devotion to Elizabeth? Her attitudes towards the children?

15. Lotte, her Jewish background, the concentration camps, the Nazis, the memories? Cook, Dorothy finding the kitchen filthy? Her clothes, singing the German songs, the cabaret dance, her feet and her falling? Her fears with Elizabeth’s death? Her killing herself in the bath?

16. Flora, work, devoted, ordinary, her vernacular language and remarks? Wearing the white dress and Elizabeth’s comments and memories? Eyeing Basil, the sexual encounter, leading him on? Her expectations, going to London, her boyfriend and his carrying Elizabeth, Flora ignoring him? Going to the restaurant, Basil’s chatter, her being hurt, return to work with Elizabeth? Her despising Basil?

17. Athol, Australian society, politics, the ALP in 1972? His Labor style? With Elizabeth in the past? The encounter with Dorothy, the discussion in the taxi? His paying for her hotel – and then changing his mind?

18. The Mac Rorys, the family, the kids, Basil playing with them, the theatre, the acting, hurting his foot, their bandaging him, calling the doctor? The memories of the past? Rory and his confrontation with Dorothy?

19. A film about human nature, flaws, foibles and their consequences? The satirist and his criticism of people – wanting people to be perfect?