THE SECOND

Australia, 2018, 97 minutes, Colour.
Rachael Blake, Susie Porter, Vince Colosimo, Martin Sacks, Susan Prior, Megan Dale, Bridget Webb, Will Beasley.
Directed Mairi Cameron.

The Second is not necessarily an enticing title for an audience. However, it does have meaning for the plot which concerns an author who was published her first book, an erotic memoir, and is now working on the second, comment being made about the syndrome for the writing of a second novel, and its being so difficult to write in comparison with the first.

But, we are soon alerted that there is more than one element of complexity in this plot. The author is seen being interviewed, stylishly dressed, impeccable manner, agreeable but aloof, the presumption being that this is a television interview. She is being asked about her book, whether it is completely autobiographical, whether it is accurate – and even whether it is true.

The writer (all the characters owner designated by a title rather than a personal name) is played with a mixture of playfulness and disdain by Rachael Blake. She is in the company of the publisher, Vince Colosimo (wearing glasses and quite different from many gangsters he has played on screen and television). They are travelling to and elaborate mansion in the middle of the bush owned by the writer’s father, an author, now dead. (And the film was shot in the west Darling Downs in and around Dalby and other towns.).

The couple are having an affair, he rather laid-back and urging her on because of financial difficulties, she seen at a computer, writing but having blocks. The complication is that her friend from the past, played by Susie Porter, turns up, partly takes over, relies on the past friendship with the writer when they were girls (shown in quite a number of flashbacks which gradually build up the story of the girls at 14, a young boy attracted to them, his death and the consequences). Also in the vicinity is a sullen tractor driver (Martin Sacks), the brother of the dead boy who seems to threaten the publisher.

The audience has to be on the alert, not only for the flashbacks, but, it would seem, after the publication of The Second, a lot of flash forwards. And then the question arises, and the writer vocalises, what is she actually writing while the audience sees particular incidents that she describes. So, what is actually happening in reality and what is dramatisation of the novel that is being written.

In fact, it becomes quite melodramatic, inconsistencies in the characters of the two women, the bewilderment of the publisher, his becoming a target, the ambiguous role of the neighbour…

So, this is an adult drama about relationships, an adult drama about writing and career as well as publishing, and tantalising questions about memoirs, biographies, descriptions of crimes, what is reality and what is invention, the nature of fiction.

1. The title? An enigma, meaning?

2. The Queensland setting, the countryside, the crops and fields, the roads, vehicles, farms? The mansion, interiors and exteriors, the lavish grounds? The musical score?

3. The flashbacks, the two girls as children, their story, the length of the flashbacks increasing, more information? The flash forwards, the interview, television, the Writers manner? The police interview?

4. The introduction, the Writer, the interview, her dress, make up, manner, the questions? The memoir, biographical? The story of the death of the boy? Leading to the flash-forwards?

5. The Writer, her age, relationship with her father, his being an author, building the mansion, his reputation at the University, his death? The return to the house, her success, planning to write her second book, the trip with the publisher, the relationship? The encounter with the man on the vehicle, his reaction, the Publisher’s reaction? The effect?

6. The two settling into the house? The interiors, the father’s daughter locked, his reputation, going to the room, his portrait, his books? The affair between the Writer and the Publisher? The Publisher enjoying himself, lounging at the pool? The Writer, her room, at the computer? The arrival of the Muse, collecting her at the station, the talk between the two women, the flashbacks, the nature of their relationship? The girls at 14, the boy, his story?

7. The News settling in, flirtatious manner, not having a job, the need for money and support? Her room, playing loud music, drinking, the meals, disturbing the Writer? The Publisher suspicious? The two wanting her to leave?

8. The shift in tone, the Writer, wearing the slip, at the computer, in the corridor is, her voice-over, describing the incidents, writing, seeing the incidents in action?

9. The shift themes to truth/fiction? The reenactments of the stories? The involvement of each of the characters?

10. The Writer changing personality, the Muse, her confrontation with the Publisher, her quoting lines of the memoir, as if she had written it? Her being in Berlin? The sexual encounter, the accusations of the salt?

11. The further threats, the Writer and her threats, the gun?

12. The Publisher, jogging, the encounter with the man of the tractor, the visit of the truth? The story of his brother?

13. The story becoming more Gothic, the Publisher and his running away, the pursuit through the fields, the Writer with the gun, the two women, going to the farmer, the confrontation, his killing himself?

14. The flashbacks of the story, the boy and his sexual behaviour, the girls, the assault on the Muse, the Writer killing him? Reporting it to the father, the courts, the evidence, the body in the lake?

15. The final interview, the Writer, her poise, the police, two different stories about the death, confession or not?

16. The final launching of the book, The Second, reality compared with the fiction of the story?