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Picnic at Hanging Rock

  • 1975
  • U
  • 1 घं 55 मि
IMDb रेटिंग
7.4/10
44 हज़ार
आपकी रेटिंग
लोकप्रियता
3,342
940
Picnic at Hanging Rock (1975)
Trailer for Picnic At Hanging Rock
trailer प्ले करें4:49
3 वीडियो
99+ फ़ोटो
Whodunnitकमिंग ऑफ़-एजटीन ड्रामाट्रेजेडीपीरियड ड्रामाड्रामारहस्य

ग्रामीण ग्रीष्मकालीन पिकनिक के दौरान, एक ऑस्ट्रेलियाई लड़कियों के स्कूल के कुछ छात्र और एक शिक्षक बिना किसी निशान के गायब हो जाते हैं।ग्रामीण ग्रीष्मकालीन पिकनिक के दौरान, एक ऑस्ट्रेलियाई लड़कियों के स्कूल के कुछ छात्र और एक शिक्षक बिना किसी निशान के गायब हो जाते हैं।ग्रामीण ग्रीष्मकालीन पिकनिक के दौरान, एक ऑस्ट्रेलियाई लड़कियों के स्कूल के कुछ छात्र और एक शिक्षक बिना किसी निशान के गायब हो जाते हैं।

  • निर्देशक
    • Peter Weir
  • लेखक
    • Cliff Green
    • Joan Lindsay
  • स्टार
    • Rachel Roberts
    • Anne-Louise Lambert
    • Vivean Gray
  • IMDbPro पर प्रोडक्शन की जानकारी देखें
  • IMDb रेटिंग
    7.4/10
    44 हज़ार
    आपकी रेटिंग
    लोकप्रियता
    3,342
    940
    • निर्देशक
      • Peter Weir
    • लेखक
      • Cliff Green
      • Joan Lindsay
    • स्टार
      • Rachel Roberts
      • Anne-Louise Lambert
      • Vivean Gray
    • 307यूज़र समीक्षाएं
    • 188आलोचक समीक्षाएं
    • 81मेटास्कोर
  • IMDbPro पर प्रोडक्शन की जानकारी देखें
    • 1 BAFTA अवार्ड जीते गए
      • 4 जीत और कुल 11 नामांकन

    वीडियो3

    Picnic At Hanging Rock
    Trailer 4:49
    Picnic At Hanging Rock
    Picnic At Hanging Rock: The Picnic
    Clip 4:50
    Picnic At Hanging Rock: The Picnic
    Picnic At Hanging Rock: The Picnic
    Clip 4:50
    Picnic At Hanging Rock: The Picnic
    Picnic At Hanging Rock: Interview With Peter Weir
    Featurette 3:43
    Picnic At Hanging Rock: Interview With Peter Weir

    फ़ोटो156

    पोस्टर देखें
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    + 148
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    टॉप कलाकार38

    बदलाव करें
    Rachel Roberts
    Rachel Roberts
    • Mrs. Appleyard - College Staff
    Anne-Louise Lambert
    Anne-Louise Lambert
    • Miranda St Clare - Pupil
    • (as Anne Lambert)
    Vivean Gray
    • Miss Greta McCraw - College Staff
    Helen Morse
    Helen Morse
    • Mlle. de Poitiers - College Staff
    Kirsty Child
    • Miss Lumley - College Staff
    Tony Llewellyn-Jones
    Tony Llewellyn-Jones
    • Tom - College Staff
    • (as Anthony Llewellyn-Jones)
    Jacki Weaver
    Jacki Weaver
    • Minnie - College Staff
    Frank Gunnell
    • Mr. Whitehead - College Staff
    Karen Robson
    Karen Robson
    • Irma - Pupil
    Jane Vallis
    Jane Vallis
    • Marion Quade - Pupil
    Christine Schuler
    Christine Schuler
    • Edith - Pupil
    Margaret Nelson
    • Sara Waybourne - Pupil
    Ingrid Mason
    • Rosamund - Pupil
    Jenny Lovell
    Jenny Lovell
    • Blanche - Pupil
    Janet Murray
    • Juliana - Pupil
    Vivienne Graves
    • Pupil
    Angela Bencini
    • Pupil
    Melinda Cardwell
    • Pupil
    • निर्देशक
      • Peter Weir
    • लेखक
      • Cliff Green
      • Joan Lindsay
    • सभी कास्ट और क्रू
    • IMDbPro में प्रोडक्शन, बॉक्स ऑफिस और बहुत कुछ

    उपयोगकर्ता समीक्षाएं307

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    फ़ीचर्ड समीक्षाएं

    8pocca

    Death and the Maidens

    Even though this has been described as a film about sexual repression (and Peter Weir may have thought he was making such a film), I don't think it is--rather, it is a celebration of the dreamy, self contained sexuality (or rather pre-sexuality) of young adolescent girls just before they seriously turn their attention to men. Sure, they may be living in a society straitjacketed by Victorian mores, but the girls really don't seem to be the unhappier for this, non withstanding the earthy maid's comments that she feels sorry for them. Miranda and her friends seem completely content and at ease in their languid, hothousey world of poetry, pink and white bedrooms, and mutual crushes (I was reminded of the similarly dreamy, self contained little universe of the sisters in "The Virgin Suicides--another film that is supposedly about repression). During the noon day nap at Hanging Rock, the girls, heads resting in one another's laps, are in a state very much resembling post coital bliss--far from seeming repressed, they are among the most content women I've ever seen on screen. It is quite arguable that Victorian morality had something to do with their sexuality turning inward like this, but all this does is lend credence to the truism that repression intensifies sexuality--which may explain the lingering fascination the Victorian era has for the modern age, and why one of its most striking symbols of its oppressiveness--the corset--is also very erotically charged. The girls' disappearance into the eerie black land form (that seems to have faces at times, bringing to mind fairy tales about trolls who steal golden haired children) suggests that at in their present state they are so contented that anything else life might hold for them could only be a letdown, that only whatever dark force (death? nothingness?) is haunting Hanging Rock could possibly be a worthy enough lover for these girls who are already so supremely self fulfilled.

    There are, unfortunately, aspects of this film that don't work, or rather jar with the elements discussed above, the most prominent of these being the Dickensian subplot of the persecuted orphaned pupil Sarah. The actress herself is affecting in her part and her boyish beauty contrasts well with Miranda's ethereal femininity (she looks like a young Renaissance prince at times), but her story really belongs in another movie because at heart "Picnic at Hanging Rock" is more Gothic than socially conscious.

    Maybe Weir really was aiming to make a movie about the evils of sexual repression, class inequality or even colonization, but such possible themes are blown away by the languid, ethereal images of the young adolescent girls at the beginning of the film, floating contentedly through their hours like clusters of Monet lilies.
    10eshaun

    Excellent director, immaculate film.

    Peter Weir is a master of taking the mysteries of human nature, combining them with the essence of humanity, then distilling those aspects through the inexplicable itself. This has been an earmark of his films "Dead Poets Society," "Fearless" and even "The Truman Show" but nowhere is this more apparent than with "Picnic At Hanging Rock."

    Beautifully filmed in rural Australia, the plot of "Picnic At Hanging Rock" is deceptively simple: students at an upper crust Victorian-era girls' school go on a field trip to Hanging Rock --an unusual geographic site miles away from civilization. On the trip, three of the girls and one of the teachers go missing. A simple plot, right? Well, on the surface it is indeed simple, but the way Peter Weir deals with the subject matter will keep the viewer absolutely enthralled and at a loss as to the cause of the girls' inexplicable disappearance. What has frustrated many viewers is that the responsibility of the hypothesis lies solely on them: there are no conclusive answers, but rather a number of theories as seen through the eyes of second and third parties.

    Additionally, Weir spices up the overall feeling of uncertainty with repeated images seemingly unrelated to the flow of the movie. Swans, ants, flowers, flies and poetry all appear repeatedly throughout the film, indicating that there is some deeper significance to the nature of the disappearance. Something that is just out of the viewer's grasp. In truth, Weir's direction in this film is akin to a more accessible and humanistic David Lynch. Much of the same thematic ground is covered, and the pronounced sense of uncertainty is a trademark of many Lynch films, especially his recent masterwork, "Mulholland Drive."

    Finally, what makes "Picnic At Hanging Rock" a true marvel of filmmaking is the complete integration of all elements in the support of the ephemeral theme. The pan-flute of Zamfir adds an otherworldly element to the score; the cinematography makes Hanging Rock look alternately commonplace, and enigmatic, depending on the scene. This collusion of all elements makes "Picnic At Hanging Rock" essential viewing for anyone interested in immaculate emotive filmmaking. -E. Shaun Russell
    10Filmtribute

    A beautifully enchanting and haunting film

    Although the images have stayed with me since I first saw Picnic at Hanging Rock some 20 years ago, the power to instil a strange sense of loss remains. The revised director's version released in 1998 unusually cuts seven minutes from the original as, according to Pat Lovell (executive producer), Peter Weir wanted to remove any pretty romances and speed up the final act. The sound quality has been enhanced and the look improved through colour regrading, but sadly a couple of key scenes involving Irma (Karen Robson) have been omitted. We are told at the outset that some of those who start out for the St Valentine's Day picnic in 1900 are never to return, and, even though various clues are shared with us, no attempt is made to solve the puzzle. Miranda (Anne Louise Lambert), who provides a voice over, based on a poem by Edgar Allan Poe, sets the tone at the beginning with, `What we see and what we seem are but a dream, a dream within a dream', and the film goes on to concern itself with the aftermath of the disappearance and the impact on all involved with those missing. It explores an apparently idyllic way of life that is not what it first seems, how this false paradise is fragile and how it is shattered by the breakdown of established order. Tensions and hysteria all surface, exposing the suppressed passions that are the reality of life, as well as the claustrophobic atmosphere of the affluent Victorian European life style in an alien land. This theme is further expressed by the virginal white dresses worn for the picnic, which seem out of place in this environment and represent the stifling restrictions placed on the young women. The layers of dress and petticoats the girls have to wear, combined with the various shots into mirrors, as if into another dimension, also reflect the story's many strands.

    Russell Boyd's award winning cinematography is stunning and actively encourages you to feel the summer heat. The beauty of the actresses and the sounds of the Australian bush, under the sinisterly foreboding gaze of the Rock, with its blatant phallic symbolism, seduce you so that you will more feel a sense of the horror, as Edith (Christine Schuler) does. The flashback at the end, poignantly coupled with the adagio from Beethoven's piano concerto No. 5 (Emperor), leaves you with a sense of loss of youth and virtue. Peter Weir subsequently recreated this impression in the final scene of his equally outstanding Australian feature `Gallipoli'. I am also reminded of the effect produced by Jane Campion (The Piano) in her early work `Two Friends', where the tale ends in the past when the friendship is at its closest, making the passing of innocence feel more painful with ageing and the passage of time.

    Cliff Green's script is not only faithful to Joan Lindsay's narrative but also complements it exceedingly well, although dialogue is often replaced by visual impression and unnecessary details are excluded to maintain the sense of mystery the author intended. However, the novel's literary mistake regarding Felicia Hemanes' famous Victorian recital piece is repeated, which is actually `Casabianca' (about the Battle of the Nile) and not `The Wreck of the Hesperus' by Henry Longfellow. Discrimination is displayed by Mrs Appleyard (Rachel Robert's fantastically monstrous harridan) towards Sara (Margaret Nelson), a forlorn orphan in love with Miranda, who is kept back from the picnic for not learning the poem, whereas Irma's position as heiress obviously carries influence, as clearly on the Rock she can only quote the first line. Sara is shown pity by the housemaid, Minnie (Jacki Weaver), whose own sexuality is realised with the handyman, Tom (Tony Llewellyn-Jones), in stark contrast to the general ambience of repressed desire.

    Miranda's sentiment that `Everything begins and ends at exactly the right time and place' is demonstrated by Joan Lindsay who based her fictional account on Hanging Rock, a sacred Aboriginal site, near Mount Macedon in Victoria. To provide added authenticity Peter Weir filmed at the Rock during the same six weeks of summer. Aborigines believe time is not linear and Lady Lindsay eschewed the notion of man-made time, hence the title of her autobiography `Time Without Clocks'. At Hanging Rock both the watches of Ben Hussey (Martin Vaughan) and Greta McCraw (Vivean Gray) stopped at twelve o'clock. Incidentally 14 February 1900 actually fell on a Wednesday, not a Saturday, unless the author used the Julian calendar instead of the Gregorian, so that the eleven days were not lost?

    The open-ended nature of the fable is deliberate to mirror life where we may learn or uncover some secrets but never understand the mystery. Plenty of extraneous facts and unexplained details are related, such as the absence of scratches to Irma's bare feet, yet identical injuries appear on her head and Michael's (Dominic Guard), her joint rescuer with Albert (John Jarrett), very redolent of the `X Files'.

    The film is beautifully shot with haunting music, exceptionally well cast and acted, and tightly directed. The ever excellent Helen Morse is an inspired choice as Mademoiselle Dianne de Poitiers, the French mistress and the girls' confidante, who describes Miranda as a Botticelli angel from the Galleria degli Uffizi in Florence, and Peter Weir specifically uses the image of the Birth of Venus. In fact Miranda, Irma and Marion (Jane Vallis), the three senior boarders who vanish, are evocative of the Three Graces, who dance in attendance to Venus, in Sandro Botticelli's Primavera. Anne Louise Lambert's portrayal of Miranda (an ironic reincarnation from her famed role in 1973 as the bed-hopping nymphomaniac in the Australian soap `Number 96') captures the vision perfectly with her ethereal loveliness and enigmatic smile, and is reminiscent of the knowing look on the death mask of the renowned `L'Inconnue de la Seine', who coincidentally died around 1900 in Paris.

    Picnic at Hanging Rock is a masterpiece of its time, and still rates as one of my favourite films today.
    Lanwench

    Eerie, beautiful "romance porn".

    I first saw PAHR while in high school, and it was the beginning of a long and drawn-out love affair with the film. The look, feel and sound of it drew me in at once, and the open-endedness of it appealed to my romantic teenage notions, striking me as being terribly, terribly profound. I searched out the book, and the sequel (both out of print in the US) and had a good long obsession over the film.

    Years later, I still appreciate it deeply, but I realize now that if I were to see it for the first time today, I might not be quite so entranced. Yes, it is moody and beautiful, full of deliciously gossamar images, beautiful actresses, a haunting soundtrack, and a hypnotically slow and deliberate pace... but I can now see that it is a very youthful effort on Wier's part. It is decidedly a young director's film, firmly mired in the style of its era (the 70s). The heavy-handedness of the direction is evident in many ways, mostly in the repeated metaphors of Miranda as a swan, an angel, etc.... It has anachronistic costumes, makeup and hair, although the sets design is attractive and accurate enough.

    However, let it be noted that the film is far more about symbolism and atmosphere than anything else, and on that front, it succeeds admirably. Among the highlights:

    The repressed Victorian schoolgirls, whose burgeoning sexual longings are channeled into torrid, purple verse and close romantic friendships

    The famous corset-lacing scenelet

    The implied relationship between Mrs. Appleyard and the "masculine" Miss McCraw

    The disappearance of only the "pure": Miranda (love), Marion (science), Miss McCraw (math), and the rock's rejecting Edith (gluttony), Irma (worldliness), and all men.

    One might go on about the sexual imagery of the rock itself, with its monoliths and chasms, but I will refrain. Because after you've seen the movie, you realize how many times these things have been hammered into your head.

    I still love this film dearly, despite the obviousness of it all. I wish that a soundtrack were available, as the original music is lovely. If you know a teenager, or are one, this is the movie for you. May your love affair with it go on as long as mine.
    dr_faustus

    Not a detective story

    I have experienced it several times that people tend to expect "Picnic at Hanging Rock" to unfold like a detective story, while it is not one, in any respect. This movie belongs to another type, to the mystery genre, and possibly stands as the finest example of a film of this kind. The main purpose of such films is to contemplate The Unknown and Peter Weir copes with that excellently. What counts most here is the atmosphere, and the focus is more on hidden emotions than on the pacing (some say that the problem with "Picnic" is that it's boring - i don't think so but I guess it depends much on your sensitivity and approach). Most fascinating thing here is possibly the way the Rock is depicted - it appears as self-conscious entity, alive in a sense which is beyond Western logic. This, I think, is the key aspect of the story, because what it really is about is the conflict between the Culture and the Nature. And don't let this put you off as 'too philosophical'. Picnic at Hanging Rock, while not being a crime story, can be involving as one - if you help this to happen, of course. If you do, you might have a lot to think about when the credits start to roll. It can happen, though, that you will be dying to see them roll - there are no movies that appeal to all of us. Then, at least, you could enjoy the set design, photography and ancient beauty of wild Australia.

    Give it a try. It's worth it. 8/10

    इस तरह के और

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    7.2
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    5.2
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    6.2
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    7.1
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    7.1
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    5.6
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    कहानी

    बदलाव करें

    क्या आपको पता है

    बदलाव करें
    • ट्रिविया
      Russell Boyd reportedly enhanced the film's diffuse and ethereal look with the simple technique of placing a piece of bridal veil over the camera lens.
    • गूफ़
      14 February 1900 was a Wednesday, not a Saturday. While this seems to be a factual error, it could be a subtle hint that this is a fictional story.
    • भाव

      [first lines]

      Miranda: What we see and what we seem are but a dream, a dream within a dream.

    • इसके अलावा अन्य वर्जन
      The Director's Cut released in 1998 (available on Criterion DVD) is seven minutes shorter than the original version.
    • कनेक्शन
      Edited into Picnic at Wolf Creek (2006)
    • साउंडट्रैक
      Eine Kleine Nachtmusik, 2nd Movement
      Written by Wolfgang Amadeus Mozart

    टॉप पसंद

    रेटिंग देने के लिए साइन-इन करें और वैयक्तिकृत सुझावों के लिए वॉचलिस्ट करें
    साइन इन करें

    अक्सर पूछे जाने वाला सवाल26

    • How long is Picnic at Hanging Rock?Alexa द्वारा संचालित
    • What is 'Picnic at Hanging Rock' about?
    • Is 'Picnic at Hanging Rock' based on a book?
    • Is 'Picnic at Hanging Rock' based on a true story?

    विवरण

    बदलाव करें
    • रिलीज़ की तारीख़
      • 31 अक्टूबर 1976 (यूनाइटेड किंगडम)
    • कंट्री ऑफ़ ओरिजिन
      • ऑस्ट्रेलिया
    • आधिकारिक साइटें
      • Criterion Collection (United States)
      • Criterion Forum 2 [United States]
    • भाषाएं
      • अंग्रेज़ी
      • फ्रेंच
    • इस रूप में भी जाना जाता है
      • Picnic en Hanging Rock
    • फ़िल्माने की जगहें
      • Mount Diogenes, Hanging Rock Reserve, Woodend, विक्टोरिया, ऑस्ट्रेलिया(Hanging Rock)
    • उत्पादन कंपनियां
      • British Empire Films Australia
      • The South Australian Film Corporation
      • The Australian Film Commission
    • IMDbPro पर और कंपनी क्रेडिट देखें

    बॉक्स ऑफ़िस

    बदलाव करें
    • बजट
      • A$4,40,000(अनुमानित)
    • US और कनाडा में सकल
      • $83,212
    • US और कनाडा में पहले सप्ताह में कुल कमाई
      • $27,492
      • 28 जून 1998
    • दुनिया भर में सकल
      • $1,96,190
    IMDbPro पर बॉक्स ऑफ़िस की विस्तार में जानकारी देखें

    तकनीकी विशेषताएं

    बदलाव करें
    • चलने की अवधि
      • 1 घं 55 मि(115 min)
    • रंग
      • Color
    • ध्वनि मिश्रण
      • Mono
    • पक्ष अनुपात
      • 1.66 : 1

    इस पेज में योगदान दें

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