STIR

Australia, 1980, 101 minutes, Colour.
Bryan Brown, Max Phipps, Phil Motherwell, Michael Gow, Paul Sonkilla.
Directed by Stephen Wallace.

One expects prison films to be grim and focus on abuses, power struggle, anger and violence. This film is no exception, is very well made indeed and well acted by an all-male cast led by Bryan Brown and Max Phipps. The screenplay by Bob Jewson is based on his experiences of the riots in and gutting of Bathurst gaol, New South Wales, in 1974 (and echoes of American riots, especially Attica).

The film is partisan in its angry critique of authoritarianism, abuses of power and the hard society which manages only by defiance on both sides. The film holds interest, is depressing in its ugly violence, unrelenting language and man's degrading inhumanity. Direction is by Steven Wallace who made the significant short features Love Letters From Teralba Road and Conman Harry And The Others, both with Bryan Brown.

1. An impressive prison film? The tradition of prison films especially from the United States, Britain? Audience expectations? A violent way of life, a closed system, abuses and oppression, a tough treatment of a controversial area of social justice? The film's presentation of the way of life in a prison and its raw violence? Moral issues? How successful was this film in itself, in comparison with other models?

2. The authentic background of the film? The writer and his experience in prisons? The New South Wales prison system? Bathurst Gaol and its riots? The acknowledgement of the influence on the Attica riots in the United States? The qualifications of the film-makers to present life in the prison, the critique, the crying out for reform? The influence of this kind of film on social consciousness, on authorities?

3. The colour photography, the use of South Australian locations? The atmosphere of the town in the few glimpses seen of it? The prison itself? The audience getting to know the various aspects of the prison and the way that this was used throughout? The skill of the editing, especially for feeling and audience sharing in the experience of the prisoners? The overall cumulative effect of the film – understanding the prisoners, reaction to the guards? The build-up to the riot and violence and its comprehensibility? Nora’s indignation? Now is this kind of material popular entertainment of a social nature?

4. The aspects of realism of the plot? An accurate portrayal of what goes on in prisons? Overstatement? The need for highlighting aspects for the brief duration of the film? What do prisons say about the nature of society, social attitudes towards prisoners, the administration of justice, the administrators of that justice? The history of prisons and their abuses?

5. The emphasis of the prologue – the monochrome in which it was filmed, the lighting, the physical presentation of the beatings, the naked men, the brutality? The prisoners becoming victims? The degradation, the feeling? The warders – the impact of their brutality without knowing the reasons for it? How influential was this prologue for the rest of the film? Information about the characters, knowledge of their potential for violence, a tone for prison reform?

6. The indication of television talkback question sessions and interviews? The effects on the public? The types of questions asked by interviewers? Jackson and his willingness to go on television and tell the truth? The scepticism that he offered about prison reform? The film's showing Jackson watching the interview? The contrast with Norton watching it and his feeling judged, his drinking?

7. The structure of the film: the prologue, the introduction to Jackson and Norton and the development of their interrelationship throughout the film? The re-entry into the prison with Jackson, learning the procedures at the prison, being introduced to the various men, being introduced to the warders, the ineffectual governor, the gradual crises throughout the film, the judgments being made on warders and prisoners at these various stages? The growing oppression, the sadism of the warders? The exercise of authority? Norton and his overtures for peace? The prisoners-looking to Jackson for leadership and his trying to play it quietly? The build-up to the eruption at the end? The prisoners going back? Jackson being brutalised? Norton brutalising himself? The hopelessness of the future – the indication that people and history repeat themselves? The build-up of characters and clashes within this framework?

8. Bryan Brown's interpretation of Jackson? His presence and style? Seeing him first in the cell, being beaten? Humiliated, victim? His television interviews and their repercussions for himself, fellow prisoners, the warders? Reentering the prison with him? The irony of the reasons for his going back to gaol? His reputation, change, disillusionment? His relationships with the other prisoners e.g. Redford? The prisoners' expectations of him, especially for leadership? His caution, wanting to serve his time and get out? His observation of the other prisoners, situations, the warders? The audience sharing his point of view and perspective? Suspicion of Norton, inability to accept his overtures of friendship, apologies? Norton's being hurt by Jackson's behaviour and attitudes? The prisoners being transferred to Grafton, the sweeping of the yard and his being refused his mail? The sadistic enjoyment of oppressing the prisoners by the various warders? His despising of them? The deputation to the governor? The calming down of the militants? The build-up to the riot? His participation in it? His eventually going berserk? The final beating and its brutality? A rounded character portrait? An ordinary citizen – victim of society, paying his debt to society for his wrongs? Society's obligations towards these prisoners?

9. Redford and his humour? Criminal type? His comments about homosexuality and heterosexuality? Seduction of the young prisoners and then his despising them? The friendship with Andrew and Andrew's controlling him? The decision for the sexual relationship and Andrew's conditions? Redford's disappointment and grief at Andrew's death? His taking for granted the system and his being in prison? Support for Jackson during the riots?

10. Aly, his character, relationship to Jackson, his being bashed, put into solitary? His work? Dave and his cheekiness, the treatment when he arrived, his throwing stones at the guard, his attacking at the end with the gun and Andrew being killed because of him? These characters representing aspects of the prisoners' characters, cross-section?

11. The range of prisoners and their attitudes? The old men in the cells, their experience, the fear of going to Grafton? The mateship within the prison, the underdogs? The simmering hatred for the warders?

12. The portrait of Norton – as contrast to Jackson? His presence at the initial bashing, his place in the hierarchy of the wardens? His attempts to be decent, his mention of family and their attitudes? Now strong a man, weak? His watching the television, drinking, nerves? His attempts to help the prisoners e.g. Alby in the solitary? His apology to Jackson and its not being accepted, his anger? His being despised by his fellow officers e.g. Mackintosh? The hopelessness of the situation, A man with strengths and weaknesses trying to do a job, pressurised by the system? Mackintosh and the challenge to fight afterwards? The build-up to the riot, his warnings and apprehensions? The taunts and his finally going berserk? The force of his savagery especially on Jackson? The importance of this portrait of a man as warder, victim also of the system?

13. The sketch of Partridge – his authority, bashings, his being in charge, pompous manner and presence, sadistic enjoyment of the exercise of authority? Mackintosh and his status, clashes with Norton, clashes with Charmers? The clash with the prisoners and his oppression of them? The minor warders and their attitudes e.g. restricting the mail? Charmers as an ordinary man, weak but trying to keep order? His role in the riot? The eagerness of Partridge and Mackintosh to shoot and quell the riot? The final bashings?

14. The governor and his ineffectiveness? The visit to him in his office, his not having any idea of what was going on? His arrival at the riot in his bowling gear? Charmers and his final insulting of him – and the audience agreeing? An atmosphere of mutual distrust between authority and prisoners?

15. The film's attention to detail in the prison and the way of life: the cells and their set-up, the groups of men in the cells, the entry procedure and the haircuts etc., work systems, laundry, meals, the yard and sport, recreation? The film show? How did this help to foster the atmosphere of the prison for the audience?

16. Themes of injustice, small injustices and their cumulative effect? The planners for the riot, their being gulled, their final defiance and eruption? Charmers and his attempt to control? The bargaining, the violence? The shooting, the deaths? The injuries? The attitudes of the warders, of prisoners?

17. The ugliness of the return to the cells and the bashing especially of Jackson? The culmination of the film?

18. Themes of rage, fear, hatred? Who controlled whom in the prison – warders or prisoners?

19. The overall experience for the audience of being immersed in the prison situation, the visual, the violent, the incessant language? The experience of the system? The individuals? The crying need for reform?