CRIME OF THE DECADE

Australia, 1984, 75 minutes, Colour.
Rod Zuanic, Paul Smith, John Jarratt, John Gregg.
Directed by Ken Cameron.

Crime of the Decade was one of several telemovies commissioned by the Australian Broadcasting Corporation for screening on 1984. It is a hard-hitting look at youth unemployment, the limitations of education in Sydney's outer suburbs in the '80s. While it is very realistic at times, it has a melodramatic ending which indicates that it should be seen as a fable and parable of the times and issues.

The film was written by Michael Cove, writer of Fighting Back (the story of John Embling based on his book Tom). The film was directed by Ken Cameron, a former teacher who made such incisive short films about the limitations of education schemes and departments as Temperament Unsuited and Fast Talking. He also directed Monkey Grip.

The film has a strong cast, using a number of the youngsters who appeared in Fast Talking which was made much at the same time. Rod Zuanic who was so effective in Fast Talking, has a supporting role here. Paul Smith (from Fighting Back) also has a substantial role. John Jarratt and John Gregg lead the adult cast. The film is sincere, is very concerned about its subject - but many may find the sudden ending too strong and a jolt after what has been presented.

1. An effective telemovie? The sincerity of purpose, strong feeling about the subject and young people? A critique of Australian politics of the early '80s?

2. For what audience was the film made - adult audience, younger audience, the ABC audience? A successful film affecting its intended audience?

3. The picture of Sydney, the details of its outer suburbs, homes, recreation centres, shopping malls? An authentic feel for the people in these suburbs? Wealth, poverty, ordinary people, politicians?

4. The structure of the film: prologue, politics, the interplay of the kids and their world with the politicians' dinner and the society talk? The effect of this interplay? Subtle/unsubtle? Real/symbolic? The symbolic breaking into the realistic drama? How well did this work?

5. The title - unemployment as the crime of the decade? In comparison with the final shooting? The audience awareness of unemployment and its repercussions? The criticism of government, of the public, of agencies in not doing enough to combat unemployment? The political responsibility? The final killing in relationship to this responsibility? Motive, circumstances, blame? Questions of law, justice, morality, responsibility?

6. The focus on Laurie Fletcher? The smooth style, his belonging to his party, his declaration of principles, the rights of the individual, work? His campaign and audience familiarity from television coverage of this style? The patterning of this screenplay on television coverage? Truisms? Avoiding the issues? The filming of television ads? His home, relationship with his wife, socialising, dinners? His phone calls, sincerity and insincerity? The style of his talk? His own beliefs in the issues? His own children and their school? Work? 'Thick as a brick'? The visitors, the meal, their wealth, affluent style and knowledge of wines etc., table talk, cigars, theory, verbal parrying?

7. His wife and her admiration, work, preparing the meal, clearing the table? Richard and the campaign? Piano, teacher - too tired to care? Discussions about the Napoleonic wars? The build-up of Laurie Fletcher as character, as symbol? The impact of his being shot? A symbol of protest? How dramatically effective?

8. The contrast with the Centre and Terry and his work? The fight about the car, the Centre itself., department regulations and help. lack of help, the work as unrewarding, difficulties of communicating, responsibility? The detailed aspects of the film in presenting life at the Centre: crises, rough, meals, talk, games, smoking, relationships. sexual encounters, drugs, hope and hopelessness? Cars, bikes?

9. The police - Duncan? The aims of the kids at the Centre? Frustration, futility, disillusionment? The quality of observation and detail?

10. The portrayal of the kids - credible? As a group. individually? Typical? How could they be judged as 'typical'? Behaviour and attitudes? Relationships as helping or hindering?

11. Steve as leader? Stopping the fight with the old man. with Terry, his mother and the shirt, money? His brother and the sexual encounter, the masturbation? The smash? His place in the group, relationship with Pete. a leader? Nicky and the job interview? Questioning Fletcher? Writing, the relationship with Ellie, sharing, awkward? Chauvinist? Climbing to the top of the tank? Tension, not jumping? Rol and the house, Ellie and the plans? Rol's death - and the reaction with Terry, blame, anger.. breaking out, smashing the advertisement? Relying on Ellie? Mr. Duncan? The gun, the confrontation? The build-up to his shooting Laurie Fletcher?

12. Ellie at school, at home and the gift, the mother and the blouse, the back and Jack? Believing or not? The clash at home, leaving? Her staying at the Centre? School and study? Her decision to join Steve? The top of the tank episode? Not jumping? The impact of the end on her?

13. Rol and the bike, friendships, the brief but effective portrait of his mother and her drinking. the police and the pass, his supporting Steve, the drugs, death? The pathos of his life?

14. The group of ocker boys, especially Pete? Cheeky, pranks e.g. at the club, the electricity, at the Centre? Bikes? Attitudes, way of talk, bragging, sex, girls? The prospects of these youngsters? Growing into Steves, Rols?

15. Nicky and the interview, the dress? Her not being needed? A brief sketch showing the futility of such interviews?

16. How fair was the film in presenting the older generation, especially the parents? Ellie's parents, Steve's, Rol's mother?

17. The screenplay's comment on the relevance of contemporary education, schooling? Information, education of attitudes? Not reaching the youngsters in any personal way?

18. How realistic was the presentation of unemployment, prospects. the consequences of unemployment? The importance of Centres and their support? The work of people like Terry - dedication, strain?

19. Relationships within this context - adequate and inadequate, anger, love, inability to love?

20. A brief but telling parable about contemporary issues for audiences of the '80s?