THE SUM OF US

Australia, 1994, 97 minutes, Colour.
Jack Thompson, Russell Crowe, John Polson, Deborah Kennedy.
Directed by Kevin Dowling and Geoff Burton.

The Sum of Us was well received when first released in 1994. It also proved popular with the public. In some ways it was forward for its time, presenting a young gay man sympathetically, an ordinary plumber, not camp in his style, wanting some kind of relationship and sexual fulfilment. He was played by Russell Crowe before he went to Hollywood, after his success in such films as Proof and Romper Stomper. He then went to Hollywood to make The Quick and the Dead with Sharon Stone, Gene Hackman and Leonardo Di Caprio. Six years later he had won an Oscar for Gladiator.

The film is based on a play by David Stevens, Palestinian born, went to England and then to Australia for several years where he wrote directed and directed Undercover, The Clinic, as well as Kansas in the United States.

Jack Thompson portrays the father, a very sympathetic man who knows all about his son and understands him, interfering with good-natured energy in his relationships and behaviour at home. It is one of Jack Thompson’s most genial performances. The film uses the device of having the two central characters turn to the audience and look to camera and speak to the audience, inviting them into their lives – even when the father has had a stroke.

The film also raises lesbian issues with the grandmother in a 40 year relationship with her friend, their being separated that the end and moved into homes where they die. The scenes of the grandmother are filmed in black and white and offer a great deal of pathos, as well as a lot of reflection by Harry, Jack Thompson, about his mother and her relationship.

John Polson, who instituted Tropfest in Australia and then went to the United States where he directed a number of films including Fan, Hide and Seek, and directed Russell Crowe in Tenderness.

Audiences will be attracted by the bright Sydney settings, the landmarks, the Balmain-Rozelle? area, the harbour, the Botanic Gardens.

Film audiences have moved on in their attitudes towards gay characters and sexual orientations but this is a significant and fairly non-threatening film. American television had been making a number of telemovies on this theme like Welcome Home, Bobby, Doing Time on Maple Drive, and the later Prayers for Bobby.

1. The critical acclaim? Popular appeal? A film of the 90s? Seen after the 90s?

2. The title, children as the sum of the parents and their ancestors?

3. The Sydney settings, the brightness, colour, attractive, the harbour, Opera House, Botanic Gardens, the streets, the walks, homes, pubs, clubs, beaches and restaurants? The atmosphere of Sydney? The Gay Mardi Gras Parade?

4. The musical score, the songs of the period?

5. The screenplay as an adaptation of the theatrical play, opened up? Staged sequences? The two central characters talking to the audience, confiding in them, eliciting audience interest empathy? How well did this work dramatically?

6. Issues of sexuality, sexual preference, up to the 1990s? The reaction of Greg’s father? The response of Harry? The initial response of Joyce? The film offering understanding, issues of love, sexual behaviour? The camp style of the parade? The non-camp style of Jeff? Support for gay and lesbians?

7. The back story of the grandmother, playing football with the kids, playing board games, the meals? The kids enjoying it? Mary watching, the Salvation Army background? The relationship with Mary, the ‘dyke’ language? The 40 years of love, affection, in the bed, after 40 years the separation, grief, the farewells, death? The effect on Jeff? On Harry? Harry talking about his mother and this relationship?

8. Jeff, growing up, his past, sexual encounters in teenage, an acknowledgement of his orientation, accepting it, his life, the effect of his mother’s death, the bonding with his father, his father knowing everything, confiding in his father, trusting him? His work as a plumber? Going out, the range of friends? Experiences? disappointments? Loneliness?

9. Harry, his age, his job on ferries, the death of his wife and his love for her, memories of his mother? The puzzles about life, sexual orientation? Accepting? His heterosexuality, the dating service, meeting Joyce, the date, as a gentleman, going out, the flowers, the collage of the various dates and his company with Joyce? Joyce’s daughter? Harry and the effect effect, not confiding in Jeff, the proposal, Joyce coming to the house, seeing the magazines, her reaction to Harry, saying he had lied, leaving?

10. Harry at home, preparing the meals, his assistance on manners and not pushing the plate away, buying the magazines, the jokes about sexuality, the buying of the Christmas tree, the decoration, his wife’s decoration for the top?

11. Greg, at the pub, talk with Jeff, coming home, his attitude, the beers, uncomfortable with Harry about? Harry coming in, the drinks, talking, friendliness, the magazines and safe sex? The issue of AIDS? Greg, not staying, Jeff’s reaction? Greg going home, the stiffness of his father meals, wanting Greg to have a better job than gardening? His quiet mother? He is preparing for the Mardi Gras parade, on the float, on the television, his parents’ reaction, his father ousting him? Confiding in Harry that he dreamt of planting a forest and caring for it? Work at the botanical Gardens?

12. Harry, his collapse, the stroke, in hospital, unable to speak, tapping his responses? Jeff and his care, tenderness, not crying? Harry turning and confiding in the audience about the stroke, at home, home care, toilet troubles?

13. The supermarket scene, Greg, his reaction? Joyce and her visit, her being sorry? In the gardens, Jeff seeing Greg again?

14. Jeff, his life, liking Greg, meeting him again, inviting him to visit his father, Greg and his flat, the possibilities with Jeff? Not just sexual encounter, love?

15. The optimism of the film, the background of AIDS but no despair? Some commentators saying it was too good to be true?