Wake in Fright

John Grant is a schoolteacher in a remote town deep in the Australian outback. It's the Christmas holidays, and he plans to go to Sydney to meet his girlfriend. However, the train only takes him as far as Bundanyabba- The Yabba to those who know it- where John promptly loses his money at a gambling hall. Stranded in The Yabba, John is introduced to some locals- the sinister yet charming Doc Tydon among them- and falls ever deeper into a drunken, violent haze from which he may never be able to escape.

Based on Kenneth Cook's novel of the same name, 'Wake In Fright' is a powerful psychological thriller that is frighteningly visceral and brutally realistic. Subtly directed by Ted Kotcheff, the film is a trip to the dark side of the human condition that pulls no punches. Kotcheff made some great films- 'The Apprenticeship of Duddy Kravitz', 'Fun With Dick And Jane' among them- but this is arguably the most enduring and affecting work he ever did.

Evan Jones' adaptation of Cook's novel has resulted in a masterful screenplay that is unpredictable and terrifying. The story is riveting and realistic, never melodramatic and always entertaining. A seedy undercurrent and threat of violence runs throughout the film that will leave any viewer utterly spellbound. The brutality borne of the boredom the men in the film experience day in and day out is startlingly authentic and powerfully captured on film.

On the point of authenticity, viewers will no doubt be put off by the infamous and distressing kangaroo hunt sequence. While it is stomach-churning, it undeniably heightens both the reality and frightening nature of the film. Also- and this point is important- the hunt would have happened, had the cameras been rolling or not. Drunken idiots with weapons and too much time on their hands do savage and disgusting things; that is not up for debate: that's truth. Arguably, Kotcheff's inclusion of the sequence merely adds to the narrative power.

Brian West's naturalistic cinematography captures the outback like no other: the heat, the vast expanse, the sweat; the endlessness of it all. His camera work is fluid and artistic, his composition and framing undeniably beautiful. It is work reminiscent of the best of Bert Glennon or Freddie Young: epic photography that is truly unforgettable.

Anthony Buckley's editing is tight, his cuts adding additional subtlety and power to the film. John Scott's score is atmospheric and eerie, contributing to the sinister tone of the film, but never becoming over the top or melodramatic. The production design and set decoration is realistic and grubby, every location in the film looks genuine. The same can be said for Ron Williams' costume design- it looks like the costumes were stolen from locals' washing-lines in the night (before they were washed, one might add).

The intense realism of the picture extends to the actors' performances. Gary Bond- as Grant- is masterfully understated. The audience is totally on his side as he undergoes tortures of a psychological kind while stuck in The Yabba. Bond was often compared to Peter O'Toole throughout his career, but his is a far less theatrical presence on screen, and his performance in 'Wake In Fright' is fantastically natural.

Donald Pleasence was a terrific, powerful actor, but could occasionally lessen a film's impact with his overacting; particularly in villainous roles (see him hamming it up in 'Will Penny' for proof of this notion). However, as Doc Tydon, he is electric, magnetic and simply incredible. It is a performance of no vanity, a towering piece of acting both entertaining and petrifying to behold. That he wasn't nominated for an Academy Award for his work in the film is a testament to the fact that the Academy usually get it wrong; and always have.

In addition to Bond and Pleasence, Chips Rafferty does a scene stealing turn as the local hard-drinking policeman, Jock Crawford. Every time he's on screen your eyes are drawn to him immediately; and his performance is fantastically unaffected. Sylvia Kaye also does admirable work as a depressed sheila in whom Grant finds some kinship, and Jack Thompson makes his film debut as Dick; one of Tydon's alcoholic and violent cronies.

'Wake In Fright' is a psychological thriller full of emotional power and unpretentious depth. Featuring career-best performances from many in the cast, the film is a roller-coaster ride through a hellish outback populated by drunkards, brutes and the occasional kangaroo. There are many violent moments in the film, and some genuinely disturbing scenes that aren't for the faint of heart. It is always realistic though, and never histrionic. Most of all, it is a powerful critique of human nature, of the fallibility and violence inherent in man; especially when boredom and alcohol is involved. 'Wake In Fright' is- simply put- a masterpiece, a bloody, brutal masterpiece.

I noted that Speen and some other media commentators think that 'Wake in Fright' was a foreign product that just happened to be made here in Oz.

My father was approached by EMI in 1967 or there abouts. The introduction of colour TV in the US had created a demand for weekly films on the networks, and they were rapidly exhausting the supply of colour films (colour only became the norm post WWII).

EMI was approaching media companies around the world to produce films for cinema release. The two caveats were that the films must contain at least one US marqee name (a recognisable draw card), and the rights for US TV must be given to EMI. All other matter of production were a matter for locals.

My father - who was running a large company in OZ (which had a recording arm) and had been involved in the start of TV, signed up.

The result were to very different films. "Squeeze a Flower" with Walter Chiari (who had starred in 'They're a Weird Mob' two years earlier) with Jack Albertson as the US star, and 'Wake in Fright' with Donald Pleasance as the star.

They utilised largely Oz casts, largely Oz crew and were moderately successful financially (from the Oz viewpoint, I don't know how EMI faired). Even Dave Allen who many now think of as an English or Irish star was the host of 'In Sydney Tonight' at the time (the Harbourside version of Graham Kennedies 'In Melbourne Tonight').

The follow on from this scheme of EMI was the beginings of TV features - specifically filmed for TV as feature films. But "Squeeze a Flower" and "Wake in Fright" were Oz films created for a TV market.

The success of 'Wake in Fright'and 'Walkabout' at the same time, along with the support of the Gorton Government for backing the new film push, started the ball rolling for Oz film's renaissance.

Cheers

Depicting a society and culture in Australia circa 1970 that isn't too far from how some live their lives today; albeit with an increasing amount of pharmaceuticals (legal or otherwise) to complement the alcohol. If you take some time to reflect on how cultures around the world behave and are able to exhibit such diversity, you will invariably happen upon a range of reasons for such variance in the way people live their lives - the cause and effect. Arrive at your own conclusions but there are some common denominators originating from white western European cultures that uniquely deliver you to the fright you could easily wake up to, if you stop being you, and go with the flow.

Surprised how well received this film is considering the genuine animal slaughter that takes place. An eye opener and a sharpener, should you need one, nonetheless

WAKE IN FRIGHT is also known Internationally as OUTBACK. Released to quite a furore in Oz in 1972, I saw it as a teenager and was not unshaken believing that it was all too true. The absolutely brutal sunbaked world of the inland 'scrub' is unflinchingly shown for every part of it's harsh reality. The bozo behavior of local men lubricated with endless alcohol and cruel boredom gets a mighty serve as well. A lot of media and tourist execs of the time were suitably outraged as were the conservative older establishment, and there were opposing films made to soften the blow (SUNSTRUCK, for example). However, WAKE IN FRIGHT is a major achievement as is Roeg's equally devastating WALKABOUT made around the same time. Recently THE TRACKER and RABBIT PROOF FENCE go into the same cinematic territory and deliver equally pungent views. WAKE IN FRIGHT will soon stand among the greats of Australian international cinema and rightfully so. A DVD release and a cinema reissue apparently is keenly awaited.

The first time I watched this, I really didn't know what to make of it; it was so different from any other film I had ever seen. It seemed as if it was filmed with virtually no budget, the sets and atmosphere were completely dingy, the setting and much of the language was foreign to me, and it felt like a kind of homemade independent film. However, upon a second viewing, I see it for the richly-textured masterpiece that it is, and for the awesome attention to detail that must have gone into it which I had taken for granted the first time.

There have been other films with similar subject matter in alternate settings of cultured men reduced to a kind of forgotten primitivity, but I think the thing that sets this movie apart is the fact that director Ted Kotcheff remains completely neutral toward all of the characters - both the cultured schoolteacher as well as the locals. By the end of the film, no character remains unscathed, and yet no character is completely without sympathy, either. It must be quite difficult for a director to remain impartial, especially when most stories require audience sympathy for a protagonist versus an antagonist for story momentum. This impartiality establishes an incredible realism in the film which is difficult to shake off. Here, as in life, things just happen to the main character organically - whether there is any rhyme, reason, or moral to any of it is the complete burden of the audience to figure out.

Another key aspect to the film is its universality. Most people would like to believe that in the modern world, and especially a modern country such as Australia or the U.S, that such ugly colloquial primitivity has been largely purged from polite society, but they would be quite wrong. I can equate some of my own personal experiences with those of the main character in this film, and so felt an uncomfortable recognition as I was watching this. Moroever, virtually every scene in the film I could envision actually occurring - something I cannot say about any other I can think of. Sam Peckinpah's filmic explorations of perverse masculinity, some of Samuel Fuller's work, and "Deliverance" are the only movies that achieve something close to the kind of effect this movie has, and even Peckinpah felt the need to resort to flashy cinematic stylistics to get his points across.

This movie has not aged one bit, and probably never will. It is a tragedy that it has all but disappeared even in its own country of Australia. Director Kotcheff displayed an amazing early talent; it is too bad that his career never reached another peak like this - even in "First Blood" and "Uncommon Valor" - two of his other films with similar themes. And that the same man ended up directing "Weekend at Bernie's" and episodes of "Zalman King's Red Shoe Diaries"!!! The world is a crazy place, and one need only watch this film to realize this fact.