WRONSKY
Australia, 1980, 57 minutes, Colour.
Ross Thompson, Miranda Brown, Doug Ling, John Flaus.
Directed by Ian Pringle.
Wronsky is a short Australian feature made with the assistance of the Creative Branch of the Australian Film Commission. It resembles John Duigan's Mouth To Mouth (1978) in its picture of ordinary people in Melbourne. In terms of realism, the film captures aspects of Melbourne's inner-city way of life and contrasts it with the way of life in Gippsland. The colour photography of both city and country is vivid and creates an authentic atmosphere for the characters. They are a cross section of this world. Ross Thompson gives an understated and persuasive performance in the title role. The film also has a symbolic background in the story of a young man's quest to find his father and his wandering father's quest to find a place where he can settle. A symbolic/realistic picture of cattle emerging from the sea serves as an Australian symbol of the fulfilment of that quest. Of interest to Australian audiences, and an interesting example of creative film work as a basis for the Australian film industry.
1. The quality of the film in terms of content and production? Its aims? The impact on a local audience? The film as a short story, an exercise in vision and communication?
2. The quality of the colour photography, the close-ups of Melbourne, the vistas? The countryside? The use of colours? The use of the times of day? The reality of Melbourne and Victoria - and its being presented in the form of vision? The finale in Gippsland and the cattle coming from the sea? The importance of the editing? The presentation of the characters, close-ups? The segments of the film and the fade-ins and fade-outs? The musical score?
3. The flavour of Melbourne - the transport, Spencer Street Station, the city streets~ and crowds, St. Kilda, suburbs? Houses? How particular the vision of Melbourne? For a local audience? How universal the characters and the themes?
4. The image of the cattle coming from the sea - in Wronsky's father's letter, in the specification at Welshpool, in the Chinese man's comments on its being O.K., in Catherine's sharing George's vision? The quest.. the longing, the need? The fulfilment of the vision and the film's ending?
5. The background of Wronsky's father - leaving when the boy was four,, sending him the exotic postcards and the effect on George, his absence and George's seeming to be alone, his not being at the house in Williamstown, the letter and its repetition of the dream,, the father possibly being present at Welshpool - or present in spirit? The significance of father-son relationships, love and need?
6. George as the title character? How did the film make him central? Acting,, the way he was photographed? Seeing him at home, the card, being stirred by the vision of the cattle, his decision to travel to Melbourne and find his father? The train trip, the vistas of Melbourne? The experience of Spencer Street Station and the old man picking his pocket? His wandering the Melbourne streets, his being absorbed into the city? His naivety, his going to the cafe, the encounter with Catherine and the Chinese man? His being helped by them? The finding of Mike, the retrieving of his money and his conscience problems about the man whose pocket was picked. The visits to Williamtown, the sitting by the beside? His encounter with Catherine and the effect on him? His wandering St. Kilda? The impact of the chance meeting and his being befriended?
7. The character sketch of the Chinese - playing pool, the friendship with Catherine, driving him about in a friendly way, sharing the cigarettes, the drinking? The finding of Mike? The various visits to Williamstown and his response to the letter? His irritation at George's problems about the recovered money? His decision to go with Catherine to find George at Leongatha? Driving., sharing the quest?
8. Catherine and the encounter with George, playing pool, her manner, helping him, taking him to the house, the meal. sleeping the night? The return how and the sexual encounter - and the short fade-out sequences and their cumulative effect? His ringing from St. Kilda? The flowers? Her decision to find him and help him in the quest? Sharing the experience of the search in Gippsland?
9. The development of the character of George - the country boy for the first time in the city, his wandering, chance encounters, being befriended, being able to talk? The experience of returning to Spencer Street Station? The insight in his problem about the money? St. Kilda and the flowers? The effect of the encounter with Catherine?
10. The importance of his returning to Gippsland, the significance of Catherine and the Chinese finding him? Their driving, the sequence at the service station, the drink at the pub? Picking up the Spanish farmer and the lack of communication - but his urging them to follow him through the paddocks?
11. Welshpool and its environment, the possibility of the fulfilment of vision? The significance of the cattle coming from the sea as symbol, part of Wronsky's father's dream, reality?
12. The sketching in of the supporting characters - Mike and his know-how in recovering the money at the station, the pickpocket and his manner, the Spaniard and his not being able to speak English, the fowls, taking them through the fields? The particular incidents highlighting character?
13. The quality of the various touches - modern city life, the crowds, the beauty of Melbourne, the water, the transport, shops?
14. The importance of the ethnic background in Melbourne - Chinese, Wronskys memories of the story of the Rumanian church, the mosque in Melbourne, the variety of churches, the different restaurants with their ethnic backgrounds? The Spaniard?
15. The contrast between country and city life? Overseas - Wronsky's father, Catherine and her comments?
16. The modern Australian life - cities, houses, meals, television - for example the television commercial about the Women's Weekly etc.?
17. Ordinary people presented with insight, a brief slice of life, character study? Symbols of Australian culture?
