THREE TO GO

Australia, 1970, 90 minutes, Black and white.
Matthew Burton, Graham Bond, Peter Colville, Georgina West, Betty Lucas, Judy Mc Burnie (Michael); Judy Morris, Serge Lazareff, Gary Day, Penny Ramsay, Wendy Playfair (Judy); Rina Ionnou, Joe Hasham (Toula).
Directed by: Michael, Peter Weir; Judy, Brian Hannant; Toula, Oliver Howes.

Three to Go was made by the Commonwealth Film Unit, strong during the 1960s and making documentaries for cinema but especially for television. At this stage, the Australian film industry was merely a dream. While there had been a few feature films during the 1960s, and Tim Burstall had made Two Thousand Weeks in 1969, there was still no sign at this stage that an industry would develop so quickly.

Each of the three directors did have a career in the Australian film industry, however, it is Peter Weir who stood out and who was soon to make The Cars That Ate Paris and Picnic at Hanging Rock and develop his career.

The film focuses on three stories about young people: a boy from a rich family, a Greek- Australian girl, a young woman who grew up in the country and needed to leave the town. They are interesting short stories, reflecting the atmosphere of the period.

1. An interesting and entertaining film? The work of Film Australia in the early '70s? The short stories and their success as supports in theatres? On television? The preamble to the '70s film renaissance? The vision of young directors? The short films as discussion starters for groups?

2. The television influence on these short stories? The lack of precedent in the Australian film industry? The work of the directors and their writing of the scripts? In the context of their later work? The quality of production: black and white photography, authentic location photography, acting styles, editing, musical score?

3. The variety of styles with black and white photography, country and city locations? The importance of authentic atmosphere? The documentary style? The importance of Peter Weir's more obviously stylish episode?

4. The atmosphere of the '60s and '70s? Australian society, the parent generation, the young and their decisions, changing values and attitudes, outspokenness? The importance of the period in terms of dropout, change, ambitions? Perennial questions but in the context of social change? The clash of the generations? The film's presenting both sides of the arguments? The questions raised in the Australian context?

5. The three stories seen in the light of subsequent treatments of such themes by the many films of the '70s and '80s?

Judy

1. The authentic country setting, the use of the city of Tamworth: shops, streets, drive-ins, dances, clubs, homes? The home life and work life in the town of Tamworth? The contrast with the outlying farms? The picnic sequence? The capturing of the atmosphere of the New South Wales country town?

2. Judy in the context of Tamworth? Family life, relationship to parents, her age, work, love for Michael? Her hopes – and the desire to move from Tamworth to the city? The clash with the relationship with Michael? The build-up of tension? The family's disapproval? The final talk with Michael at the picnic? Her eventually going to the city?

3. Michael and the background of the farms, tractors, love for Judy, not wanting her to go? The picnic discussion, his glumness, warnings about the city?

4. The sketch of Judy's parents: in themselves, their home life, relationship, upset about Judy wanting to leave, being independent? The typical parental warnings?

5. Judy at work, her friendship and discussions about work in Tamworth, going to the city, infatuation with the men at the office, romanticising? The scenes at the club, the poker machines, the dancing etc.?

6. The detail of the town and its quality of life? The critique of the town as seen through Judy's eyes? The need for the younger generation to stand on their own feet? For the younger generation the country to think about moving to the city to establish a new way of life (despite the warning of the country people against the city types?

Toula

1. The contrast of filming techniques with Judy: the voice-over, the comment, the use of the city, the insertion of the atmosphere of Europe, Greek Orthodox religion? The point of view of the story?

2. The focus on migrants and the use of Greek, the speaking of Greek, the subtitles? The contrast with the audience listening to English? The need felt for translation? Highlighting the migrant language difficulties?

3. The portrait of the Greek families in Sydney: the memories of Greece? The reasons for coming? The grandparent generation and the fond memories? The film's quick introduction to each member of the family? The parent generation, strictness, rules, expectations, criticisms, anger? The anger of the younger generation against the parents?

4. Toula and her being settled in Australia her friends, her being supervised by her parents – especially as regards boyfriends, sexuality? Traditional clothes? Her buying new clothes and the devices for throwing them out the window and changing later? Outings, films? Dances? Her shyness? The encounter with John and the possibility of it blossoming? The meetings with John, the embarrassed kisses etc.? The importance of the Greek Orthodox celebration of Easter? The church celebration with the Easter greeting? Her brother attacking her for her relationship with John? The dilemmas of her loyalty to her family, new possibilities?

5. The story dramatising the dilemma? Audience involvement with Toula's feelings, hopes, feeling restricted?

6. The explanation of Toula's brother and his hopes, cleverness, reacting against his parents, wanting to leave school? The discussion with the delicatessen-owner and his advice about the future and possibilities? Education?

7. John as the presentable young man, the encounter at the dance, Toula's shyness? Meeting him afterwards and worried about her parents? The Easter greetings?

8. The importance of religion – religion as ritual, group belonging, the sense of community? The Greek rituals, icons? The priest? The greeting 'The Lord is risen' and the reply 'He is truly risen'?

9. The quick sketch of the young girl, a young Greek girl and her hopes?

Michael

1. The work of Peter Weir? His insights into youth? His stylistic ability to communicate not only plot but awareness?

2. The structure of his story: the film within the film and its style, issues? The device of the TV panel programme? Michael illustrating the questions and responses of the panel? Michael's home life, conventional work? The world of Graeme and Virginia? Michael being inserted into this world? Meetings, protests, party? The pot-smoking group and their ridicule of Michael? His having to make decisions? The editing and pace?

3. The visual styles for the short story: the use of conventional war material for the film within the film, the ominous battle, the tanks, terrorism and protest?

4. Michael in himself, his wealth, parents, the importance of his mother and her influence, conventional work, stifling atmosphere, monotony? Comparisons with the world of Graeme and Virginia? Responses to the film? Talks with Graeme, protests? The party and his apologies – and ringing his mother? Graeme’s and Virginia's reaction to his phoning? Where was Michael left at the end? His future?

5. Graeme and Virginia in themselves? Graeme Bond's presence and style? Their alternate lifestyle? Manners, clothes, interests? Meetings? Friends? Parties? A viable alternative for Michael?

6. Michael's mother and her middle-class interests? The various aspects of middle class and affluent life – friends, dinners, society manners? The church and the conventional benign attitudes of the minister etc.?

7. The send-up of the panel programmes? The platitudes spoken? The illustrations from Michael's life belying the platitudes? A valid tilt at the media?

8. The validity of the comment on dilemmas to be faced by young people in 1969-70? Seen with the wisdom of hindsight? The film as illustrating the dilemmas of the late '60s?