Le pavillon interdit

An Australian military field hospital in the South Pacific during 1945 at the very end of the Second World War becomes the hermetically sealed setting for this work filmed upon Lord Howe Island in New South Wales. A sweat drenched tropical tale based upon a novel by Colleen McCullough, the film's primary theme involves a conflict between love and duty, and the result that comes from making an inappropriate choice in the matter. Psychological stimuli for actions of the characters, in particular those who perform responsibilities in uncomfortable circumstances, are incisively dramatized through able performances from a nicely-selected cast, the narrative being temporized only occasionally by the scriptor's attempted fidelity to the novel. Sister Honour Langtry (Wendy Hughes), a caring and conscientious Army nurse, has been placed in charge of a striking mixture of five emotionally damaged soldiers being treated in the psychiatric care section of the hospital, known as Ward X, and has established thoroughly successful rapport with each man, a viewer being privy through brief flashbacks to the combat related circumstances that have driven the maladjusted troops into her care. Into this delicately balanced atmosphere is sent an addition immediately after the surrender of Japan - - a highly decorated sergeant, Michael Wilson (Gary Sweet), whose unexpected coming is not welcomed by the sister who has no need for a new patient so near the time of being mustered out, although she is also attracted to the handsome newcomer, in large part as a result of his apparently stable demeanour. Outraged by an obviously growing physical connection between Sister, or "Sis" as the inmates refer to her, and Michael, one of the patients plots to ruin the budding, as well as unethical, relationship, thereby serving merely to bring the pair closer. "My book, Indecent Obsession, was about duty", has stated author McCullough, and this subject is often brought to the fore in this melodrama that has no hero within a screenplay that generates additional interest stemming from the novelist's employment of historical trimmings that mark her most effective writing, while also making proper use of a murder mystery subtheme. Acting honours must go to Hughes, whose nurse is seeking correct symmetry between a need for romantic love and a responsibility for assisting those assigned to her care, while the principal male actors are impressive as well, bringing a broad gamut of interpretations to their roles. Perhaps most effective when it does stay very close to the book's content, the film is competently directed by Lex Marinos. A small budget is used efficiently, production and costume designing are top-tier, and editing wisely incorporates the lowering basalt cliffs that serve to define Lord Howe Island.

I somehow get the feeling, the CM novel didn't translate well to screen, where beyond the really good performances, for which Moir and Little, were justly commended, especially Little (he's brilliant) though I really liked Garry Sweet's performance too, the film just doesn't rise to the occasion, or how it should of gone. Basically the story deals with military psychiatric patients, housed together, where Hughes, their carer, and others sisters of war seem quite lonely types. Hughes develops a sexual obsession for newcomer, Sweet which sends Moir's violently crazed self, spiraling into jealousy, and predictably his own death, (a particular violent scene) or was it murder. The film's ending song, is so out of place, I couldn't understand it. It didn't go with any of this misfire of a film. Yeah, the intimate scene with Hughes and Sweet was beautiful and touching, but this film was way from that.

There are two especial facets of this film that are particularly striking to me; not being familiar with Colleen McCullough's novel, it's not for me to say whether these are a reflection of her work, or strictly of Denise Morgan's adapted screenplay. The first is that there's a decidedly unbothered air about the proceedings, emphasized by the sparse use of a somewhat repetitive score, that quite reminds of TV movies more than major motion pictures. This is no specific mark against 'An indecent obsession,' just a reflection of how the story is kept at a persistent low boil instead of lobbing discrete bombshells at us, but it's noteworthy nonetheless. The second is that while the suggested romantic element is gradually woven in with more prominence, by and large the movie comes off as a broad portraiture more than bearing a major focus, and I wonder if it wouldn't have been better off staying that way. The strained dynamics between the men of Ward X, with Sister Langtry trying to maintain balance, is all this actually needed to be a compelling, low-key distressing feature. All this is to say that when the character relationship between Langtry and Michael is accented most, it seems to me that's when the title is at its weakest; there comes a distinct point in the plot - thankfully not until within the last third of the runtime - when I feel like the movie has (temporarily) kind of lost me. And it didn't have to be that way.

But don't take this to mean that 'An indecent obsession' is bad overall, because it certainly isn't. On the contrary, the film tells a wonderfully absorbing story with complex and varied characters, and it's sufficiently strong that I quite wish it were actually longer. The cast give gratifyingly robust performances across the board, and it's difficult to even name one member as a favorite. Wendy Hughes, Gary Sweet, Richard Moir, Jonathan Hyde, Bruno Lawrence, Mark Little, Tony Sheldon, and others in smaller supporting parts bring their characters and the saga to life with wonderful personality and nuance, and it's a joy to watch them at work. The filming locations on Lord Howe Island are gorgeous, and the sets constructed for the production are superb. And from a technical standpoint this is rock solid, with capable direction, cinematography, editing, and more. Far more than not the feature is very well done, firmly engaging, and well worth checking out almost 40 years on. This just makes it all the more unfortunate, perhaps, that a handful of moments - or really, even just one or two - break so much from the tone that is otherwise fostered, and the strength that is otherwise built up. I speak mostly of the converging path of Langry and Michael, yet as if to emphasize the point: as much as John Swan's song "It could have been you" is enjoyable in and of itself, it's use over the end credits feels out of place.

Still, while I think the end result is imperfect, the value far outweighs the detractions therefrom. When all is said and done this is hardly a must-see, and it's nothing for which one needs to go out of their way. Though all appropriate to the setting, circumstances, and the plot, it's also worth noting an underhanded current of ableism that runs through the picture. But between the writing and the acting, far and away 'An indecent obsession' is a satisfying, deserving viewing experience, and one I'd have no qualms recommending to just about anyone. If you have the chance to watch, this is a fine way to spend 105 minutes.