“All that we see or seem is but a dream within a
dream.” Edgar Allen Poe 1849
I'm drawn to motion pictures for their storytelling, spectacle,
entertainment, and escapism. But for as long as I can remember, their primary, fundamental
appeal for me has always been their
ability to capture the ethereal, ofttimes rapturous quality of dreams and
fantasies.
When I think of the moments in movies that give me the sensation of reality and dreams merging, I think of those God’s-eye-view kaleidoscopic dance patterns of Busby Berkeley. I think of the feverish surrealism of Ken Russell. And my mind goes to the films of Roman Polanski and his remarkable way of using the camera to replicate the imprecise flow of events and murky logic found in dreams.
When I think of the moments in movies that give me the sensation of reality and dreams merging, I think of those God’s-eye-view kaleidoscopic dance patterns of Busby Berkeley. I think of the feverish surrealism of Ken Russell. And my mind goes to the films of Roman Polanski and his remarkable way of using the camera to replicate the imprecise flow of events and murky logic found in dreams.
All of these moments—and moments like them—epitomize film’s
miraculous capacity to both meet and exceed one’s fantasies while
simultaneously inspiring new ones. Not every movie has to do this, but the fact that films possess the
potential to render corporeal those very aspects of existence we ascribe to the ethereal is what made
me fall in love with them.
I think it's perhaps for this reason that sports films,
westerns, war movies, and action/adventures have never held a particularly strong
interest for me. All that aggressive competition and combat—even when represented
as heroic—just bring to mind the "nature vs. materialism" sentiments of Wordsworth’s The World is Too Much With Us. These films feel like products of the
material (masculine) world, intent on exalting that which is singularly mortal, and therefore fundamentally minimal.
Movies that awaken me to what is beautiful and mysterious in the world—that inspire me to pay more attention, feel more deeply, recognize and appreciate the poetry in the unique and absurd...I like that. When I'm lucky enough to recall them, my dreams always feel like hyper-aware versions of reality. They seem to me to be, in their way, a truer vision of the magic and mystery in the world (and within myself) than my rational mind sometimes allows during what can be jokingly referred to as my "conscious" life.
Movies that awaken me to what is beautiful and mysterious in the world—that inspire me to pay more attention, feel more deeply, recognize and appreciate the poetry in the unique and absurd...I like that. When I'm lucky enough to recall them, my dreams always feel like hyper-aware versions of reality. They seem to me to be, in their way, a truer vision of the magic and mystery in the world (and within myself) than my rational mind sometimes allows during what can be jokingly referred to as my "conscious" life.
One of the more hypnotically exhilarating films to capture this sense of “movies as dreams/dreams as movies” (one I rate
right up there with Robert Altman’s 3 Women) is Australian director Peter Weir’s Picnic at Hanging Rock.
Rachel Roberts as Mrs. Appleyard |
Anne-Louise Lambert as Miranda St. Clare |
Margaret Nelson as Sara Waybourne |
Helen Morse as Mlle. Dianne de Poitiers |
Dominic Guard as Michael Fitzhubert |
John Jarratt as Albert Crundall |
The enigmatic tale of Picnic
at Hanging Rock, condensed on the teasing “based on a true story or not?”
poster copy used to promote the film, concerns a fateful Valentine’s Day in 1900
when, during a school outing to Hanging Rock, a mystically foreboding rock
formation in Victoria, Australia, two schoolgirls, and a teacher disappear,
never to be seen again.
From this deceptively simple mystery plot is suspended a
host of enticing themes—practical as well as metaphysical—from which can be
drawn entirely different (yet peculiarly complementary) interpretations of not
only the event itself, but the lingering, escalatingly tragic effect it has on all the individuals whose lives were irrevocably changed by it.
Sensitively adapted for the screen by Cliff Green from the
1967 novel by Joan Lindsay, it was established long ago that Picnic at Hanging Rock was not based on
an actual event. But the intentional obfuscation of this fact by Lindsay
throughout her life ideally suits a story in which the attempt to arrive at logical explanations through pragmatic means proves, in this instance, a futile pursuit at best.
Vivean Gray as Miss Greta McCraw |
Establishing a mood of hazy paradox from the outset, Peter
Weir ushers us into his film—which is, in effect, a waking dream—with the
image of its most ethereal character, Miranda, waking up from a dream. It is
Valentine’s Day at Appleyard College; a rigidly formal, upper-class English all-girls
boarding school plopped smack in the middle of the Australian bush, and the
girls are all caught up in a flurry of romantic preoccupation.
"Meet me love, when day is ending..." The romantic valentines the girls share with one another express a depth of emotion largely stifled by their surroundings |
These contrasts soon establish themselves as a motif in Picnic at Hanging Rock, the subtle discord between nature (encompassing both the
supernatural and preternatural) and the desire to control it (as exemplified by
the staunch dominance of school headmistress Mrs. Appleyard), are put to the test
by the unexplained disappearance of the aforementioned students and teacher.
Little Girls Lost The disappearance of Miranda (Lambert), Marion (Jane Vallis), and Irma (Karen Robson) is depicted as an act of mystical somnambulism |
Because the film begins with a title card already informing
us of the girls’ disappearance, the early scenes, for all their soft-focus
sensuality (make me wonder if Brian DePalma caught this film before he shot Carrie’s memorable slow-motion girls’ locker room scene) betray a sense of menace and foreboding.
Natural emotions and actions are thwarted at every turn.
Miranda, the school free spirit, is the object of a girlhood crush by her
lonely roommate, Sara. Sara’s overtures of love are accepted, yet frustrated by
Miranda’s cryptic premonition: “You must
learn to love someone else apart from me, Sara. I won’t be here much longer.”
In addition, after witnessing the girls binding themselves
up with corsets (apparently a picnic doesn’t necessitate being comfortable), we’re given
scene after scene in which teachers attempt to quiet and suppress the natural
ebullience of girls anticipating an outing.
All this has the effect of creating an atmosphere redolent
of an emotional pressure-cooker (a feeling enhanced by the strenuously
non-romantic math instructor as she pragmatically demystifies the miracle of Hanging
Rock by going on about its formation being the result of earthly eruptions).
(After posting the above screencap, my partner told me its painterly composition and use of light reminded him of George Seurat's pointillist masterpiece A Sunday Afternoon on the Island of La Grande Jatte - completed in 1886.) Beautiful.
By the time the three more developmentally inquisitive girls traipse off to explore (the naïf Edith [Christine Schuler] tagging along), their eventual disappearance into the almost beckoning columns of the rock feels like a date with destiny.
(After posting the above screencap, my partner told me its painterly composition and use of light reminded him of George Seurat's pointillist masterpiece A Sunday Afternoon on the Island of La Grande Jatte - completed in 1886.) Beautiful.
By the time the three more developmentally inquisitive girls traipse off to explore (the naïf Edith [Christine Schuler] tagging along), their eventual disappearance into the almost beckoning columns of the rock feels like a date with destiny.
Two local boys also on the rock that day—Michael, a high-born Englishman, and Albert, an Australian coachman—find their lives touched (profoundly) by the disappearances. |
If the first part of the film feels like a deceptively
pastoral rumination on Victorian ethos imposed upon Australian culture (vis a
vis British Colonialism); then the second part, structured as a crime mystery shrouded
in a psychological melodrama, feels like a battle royale between nature’s
enigmatic indomitability and man’s arrogant faith in all things being comprehensible
and tractable.
Among the townsfolk, the urgency to discover the fate of the
missing girls (compounded when one is found unharmed, yet lacking any recollection of
what occurred) arises as much out of the fear of uncertainty as concern for
their welfare. At the school, Mrs. Appleyard frets over how the heedlessness of
the event will color public perception of her institution, her inefficacy in
the matter fueling a need to exert her will over the staff and pupils.
Particularly the rebellious but emotionally vulnerable Sara. Sara is an
orphan, abandoned by her parents, her friend Miranda, her caretaker, and ultimately her absent, longed-for brother
(the latter, another lovely metaphysical quirk in a story overflowing with them).
Mrs. Appleyard, intent on breaking the stubborn will of the school's most defenseless and vulnerable student |
The sum effect of all these emotional and psychological
upheavals is that the disappearance of the schoolgirls comes to erode everything
everyone has come to know and rely upon. This discord and disruption are dramatized in
the contrasting images of Australia’s resilient-looking fauna juxtaposed
against the fragile white swans introduced to Australia by British settlers
(only black swans are indigenous). Similarly, the vaguely threatening sounds of nature on the
film’s soundtrack feel like an angry outdoors response to the near-constant sound of the ticking of clocks indoors.
Picnic at Hanging Rock ends on a note of compound human
tragedies. But true to the film's thematic responsiveness to the instinctual, sensual, and constant; nature seems to triumph and prevail. Hanging Rock remains as it has for millions of years: unchanged, unyielding,
and the conclusive guardian of its mysteries.
WHAT I LOVE ABOUT THIS FILM
I find it somewhat remarkable to consider that outside of the mystical Australia vs. Colonialism angle I described above (the particular thrust of the film that spoke to me most fervently), Picnic at Hanging Rock actually operates on about fifty other levels simultaneously. Whether the themes relate to spiritualism, sexual awakening, death and loss, existential mystery, the birth of the Edwardian era in Australia, romantic idealism, etc. There are just so many fascinating and diverse ways to look at this movie.
Hanging Rock - Appleyard College / A precipice vs. an edifice One exalts the natural spirit, the other seeks to suppress it |
It's impossible to speak of Picnic at Hanging Rock without giving credit to the invaluable contribution made by its haunting musical score. Composer Bruce Smeaton and pan flutist Gheorghe Zamfir (with some additional assist from Beethoven) imbue each dreamily-evoked scene with just the right tone of languorous unease.
PERFORMANCES
Welsh actress Rachel Roberts--stepping in for the last-minute departure of originally cast Vivien Merchant (The Maids)--is the immovable object against which all the characters in Picnic at Hanging Rock must collide. Backing up her startling hairdo, severe manner, and clipped, precise diction with a forcefulness that knocks everyone else off the screen, Mrs. Appleyard is an even more memorable entity than the character of Miranda.
Peter Weir gets splendid performances out of the entirety of his cast. I have nothing but praise for the ensemble work in Picnic at Hanging Rock, with special kudos going to personal favorites Helen Morse (who I honestly thought was French), Anne-Louise Lambert, Margaret Nelson, and John Jarratt.
I saw Picnic at Hanging Rock for the first time in 1979. Then, unfamiliar with the plot or Peter Weir's trance-like, atmospheric style, it felt like the most elegant horror movie I'd ever seen. Very unsettling and disturbing in a compellingly subtle way. Since then, I've seen this movie more times than I can count. Each time finding more to marvel at and discover. However, the best thing about it is that it has ceased feeling like a dream remembered. Closer to the truth is that it feels like a remembered nightmare that no longer frightens, one whose unsettling memory now simply entertains.
A terrific scene of Polanski-level tension is when Irma, the only girl to be rescued of the missing three, visits the gymnasium before departing for home |
BONUS MATERIAL
Watch the two-hour "making of" documentary - Picnic at Hanging Rock: A Dream Within A Dream
No evening of TV watching in the early '80s was complete without at least one sighting of this record collection commercial for Zamfir: Master of the Pan Flute. Warning, if you're a fan of the delicate and stirring way Gheorghe Zamfir's music is used in Picnic at Hanging Rock, I strongly suggest you skip the commercial. Otherwise, it's available on YouTube HERE.
“Everything begins and ends at exactly the right time and place.”
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