FELONY

Australia, 2014, 97 minutes, Colour.
Joel Edgerton, Tom Wilkinson, Jai Courtney, Melissa George.
Directed by Matthew Saville.


By definition, a felony is a serious crime. Because of the title of this film, audiences may be expecting a high-powered crime drama. They may well be disappointed because this is a very-low key but realistic treatment of a crime, an unintended careless knocking of a paperboy to the street with a car and the driver not immediately facing up to the reality, the responsibilities and the consequences.

But audiences might welcome the fact that this is a drama confined to suburban Sydney streets, characters being fairly ordinary, people one might pass in the street every day. This means that they can identify much more readily with the characters and situations, situations anyone could find themselves in unexpectedly.

Actually, the film does open with some police action, a raid in a warehouse, shots fired, the chase, arrests – and then the squad celebrating down at the local pub, pleased with an proud of their success. It is in the aftermath of the celebration that the accident occurs. While there are some moments of attention to other cases being investigated, including tracking down a man who has assaulted a young girl and has been supported in hiding by his girlfriend, finishing up in court. And there are further arrests consequent to the raid on the warehouse.

Most of the action, however, takes place with five central characters. Joel Edgerton portrays the hero of the raid, escaping being wounded because a shot has hit his protective vest. It is he that has had the accident, bumping the paperboy in the dark at 5 AM, delaying momentarily to help and then not telling the full truth. Tom Wilkinson plays the chief detective, who has had some personal grief, is on the wagon, but has given his life to the police and continues intensely with the cover-up. Jai Courtney is the earnest young policeman, something of a righteous crusader, who is suspicious of the accident report, re-listens to the recording of the call for ambulance help; also becoming very sympathetic to the mother of the victim, going out of his way to help her, something which bewilders her. Melissa George plays Joel Edgerton’s wife, made participant in the cover-up and facing the dilemma of whether her husband should admit the truth or should be more caring of her and his family.

This is a drama about conscience played in the context of ordinary day life, which means that the audience is challenged, perhaps more than usual, to test themselves and see where sympathies lie and what they would do in such a situation themselves. While conscience demands honesty, circumstances can untangle the motives for admitting responsibility or not. We also see that it depends on ultimate integrity as well as an emotional response to being guilty of such an accident, silence, and making peace with those who have been affected by grief.

1. The title, the nature of crime, police work, the courts, punishment? External punishment? Internal?

2. The Sydney settings, the limited suburban area, below-keep presentation? The warehouse, the police stations, homes, hospital?

3. A film of conditions, truth, responsibility, honesty and integrity or – the consequences?

4. The drama of the initial raid, Malcolm and his leadership, in action, the chase, the Asian man shooting, Malcolm and his best, punching the? The
teamwork?

5. The celebration, the pub, Malcolm leaving, writing, distracted, the bullet on the bike, hitting him, stopping?

6. Malcolm stopping, hesitating, checking the bully, ringing for the ambulance, its being recorded and replayed? The arrival of the ambulance, the arrival of the police? The arrival of Carl Summer and him, Summer taking charge, treating people, getting Malcolm statement, the issue of the other car in the lights on its the, use it would possibility? Diligence later seeing this in again, but this time hearing what he had to say, the conversation with Malcolm, the decision to continue with the cover-up?

7. Malcolm, upset, wife and family, eventually telling her the truth, her anger, wanting him to continue with the cover-up, not liking what had happened to her and complaining that Malcolm had made her like this?

8. Carl, age, experience, his work, on the wagon, wife and son, his son and swearing, his own language? Jim arriving at 5 o’clock, blind? Carlton this conversation with Jim, arriving at the accident, taking charge, getting the onlookers away? Talking with Malcolm, the later revelation of the complete conversation with Malcolm, his urging the cover-up, making excuses, Malcolm and his integrity, his place in the force? Carl’s motives, the police force as a band, one band, even a bad band, but also the one song? His head to the office, talking with Mark of the office, later going to meeting, upset that Malcolm wanted to tell the truth?

9. Jim, well-dressed, his suit, earnest, Crusader, the case with Carl, visiting the woman, her defiance of the police, a partner, the paedophile, his being captured, in court, Carl and his anger with the bail decision, the woman laughing into region? Going back to his office, drinking?

10. Jim, his care for the mother of the injured boy, who Indian background? As a hospital, attraction, comforting in brief, Malcolm and Julie coming with flowers and consolation? The mother and her gratitude?

11. Jim, the continued investigations, suspicions about Malcolm? Reading the statement, listening to the record of the call the ambulance, his reasons for pursuing the case, the discussions with Carl, Carl and his decisions? Jim defying him?

12. Jim, going to the house of the mother, touching her, going too far, the attempted kiss, the woman and her wilderness bewilderment? His changing sense of self, the possibility of doing something wrong?

13. Malcolm, driving, the accident and the effect? Going to the tour of the house? The mother and the response?

14. A small story in a small area, audiences able to identify with the characters and the situations?