SAY YOU WANT ME
Australia, 1978, 90 minutes, Colour.
Serge Lazareff, Belinda Giblin, Anna Volska, Robyn Nevin.
Directed by
Say You Want Me is one of several Australian telemovies of the late '70s made by Channel Nine and Film Australia. This one focuses on the world of radio and advertising but has the rape issue central to it. Serge Lazareff is a bland kind of hero but Belinda Giblin makes the most of her role as the heroine who has submitted herself to her husband and his career but who experiences being raped and being caught in the contracts of big business. Many prominent television and stage actors and actresses appear in supporting roles e.g. Anna Volska as the journalist and Robyn Nevin as the policewoman. Brief, reflecting the atmosphere of urban Australia in the late '70s and touching on crucial issues at a popular level.
1. The quality of the film as an Australian telemovie of the late 170S? The strengths of the screenplay, production values, acting? Interesting, enjoyable?
2. The bringing of a serious theme into the home? How well handled for the how audience? The screenplay was written by a woman - the presentation of a feminine viewpoint on such central issues as rape and justice?
3. The picturing of the contemporary Australian city, the use of Sydney landscapes? An authentic atmosphere? The world of radio, advertising, estate deals? A glamorous couple within this context? Publicity and people's expectations?
4. The communication of the world of radio? Radio and its influence on people's lives, listening habits, formation of attitudes? The tone of popular radio and its sounds, its personalities? Recognition of personalities, the public's expectations, glamour and the effect on people's lives and the way they have to live these? Tony and Julie within this atmosphere, their style, the harder aspects of living up to what people expected? Tony and his disc jockey style, his talk-back and his harsh attitudes and the audience liking this? Radio and ambition, achievement, the bosses, the tie-ins with advertising, contracts? Is it possible to escape from this world or not, once one is in it?
5. The use of radio throughout the film - the types of calls with their problems, false problems, exhibitionism, the singing of old songs, the woman who was killing her children? Serious and light issues? Doctors and ministers brought into these talk-back sessions? The use of radio for exploring the crisis between Tony and Julie at the end, the collage of comments and telephone calls about their behaviour as the film ended? The use of radio for presenting the issues, the varying points of view, audience identification?
6. Tony and Julie as a couple - the tone of the opening interview, seeing them in bed and their satirising of the interviewer? Tony's points of view on women and having his wife submissive to him? The way they related, Julie's subordination to him? Her not being employed? How superficially did they relate, with what depth? Winners? Chosen to sell real estate? The repercussions of their relationship when tested? The strength of the bonds, Tony not prepared to sacrifice anything, relying on punching and fighting to solve the issue? The choices he was faced with and their being relayed over the radio? The breakdown of the marriage their future? How credible a presentation of a couple? Would the marriage have broken up without the rape situation?
7. Julie and her personality, previous work, feminine style, love for her husband, being interviewed for jobs and unsuitable, her age, people envious, the "Women's Weekly" spread? Her presence at the party, trying to support Tony and the repercussions with Kirby and the rape? Her telling Tony of her ordeal and his reaction, the harshness of the policewoman's interrogation and the warnings about court, the witness and his not wanting to be involved, her advice especially from her mother in patching things up? The psychological effect ~ the immediate repercussions and the phone call, her grief at night, smashing things in the home, defying Kirby at the party, chasing him in the car? Her being more herself and pleading with Tony, going to the solicitor? Would she be better for her ordeal?
8. Tony and his weakness, subservience to the bosses, to Kirby? Not facing up to the issues, continually trying to smooth it over? Living up to his image? His success and the threats to it? His choice at the end and return to radio?
9. How credible was the personality of Kirby, his deals, radio tie-ins, contracts? His presumptions about Julie and the brutality of the rape? Subsequent behaviour, her frightening him in the car, the fight with Tony and his using it? His ultimately winning?
10. The television boss and his pleasantness, public relations, contracts and yet under the surface his ruthlessness?
11. The detail of the minor characters and their contribution to the atmosphere and plot - the interviewers, the people at the parties, Kirby's woman, the policewoman, the politician at Newcastle, Julie’s parents, the radio people especially June and her long talk about killing her children?
12. The major issues of the film - the woman in the contemporary world, the individual, rape and justice, personal injury, personal choices, the meshes of big business?
