L'inizio del cammino

Superb cinematography, the Australian outback comes alive in this film of self discovery and regret. Agutter plays the English girl brilliantly, incapable of comprehending anybody or anything that doesn't conform to her middle-class values and upbringing. Roeg is also excellent as her brother, adapting to each and every change in circumstance as only children can. I have watched this movie many times, and always get something new from it. Highly recommended to anyone, although parents might want to watch it before letting their kids see it.

I first remember seeing this film as a late teenager in about 1979. Therefore what most vividly stuck in my mind was the lead character played by a beautiful blonde English girl, Jenny Agutter, Specifically the nude scenes of her swimming and washing.

On a less superficial level it is a film with a point-something along the lines of the graciousness of Aborigines and their ability to live in harsh surrounds, and the destructive nature of suburban life in a flat in a major city.

I think it would be a film, like Jedda, that will always be on reference for the Australian Outback, Aboriginals and the modern society which brought a European civilisation to their land.

A teenaged girl (ever-lovely Jenny Agutter) and her young brother (Lucien John, a.k.a. Luc Roeg, the directors' son) are stranded in the desolate Australian outback. They really have no clear idea of where to go or what to do, but they meet a stranger who saves their lives. He is an aborigine (Aussie icon David Gulpilil) who is partaking in the ritual known as "Walkabout", wherein he temporarily leaves his tribe to go off on his own and live off the land.

The experiences between these three young people form the balance of this excellent film. The culture clash is immediate, as the two urbanized white kids struggle to make themselves understood by the aborigine. But they ultimately become rather inseparable.

Along the way, they encounter all sorts of flora and fauna. "Walkabout" is highly noteworthy for its respect for Nature, and is filled with many visual wonders. Given that director Nicolas Roeg had been a camera operator and cinematographer, it's no surprise that the film *looks* beautiful, and it's set to a haunting and lovely John Barry score.

Three highly engaging performances anchor the film. Agutter has a naturally sexy presence, and Roeg doesn't miss opportunities to let the camera take in every aspect of her body. His son does a nice job as the brother, avoiding being overly cutesy and always relaxed on screen. Gulpilil proved to be a real find in his film debut. Another Aussie favourite, John Meillon, appears briefly as the white kids' father.

"Walkabout" was largely improvised. The Edward Bond script, based on a novel by Donald G. Payne, was actually only 14 pages or so. Knowing this, it makes the acting that much more impressive, as the cast react instinctively to the scenes & settings.

Overall, this is one of *the* iconic Australian films, and is a must-see for movie lovers interested in cinema from this part of the world.

Eight out of 10.

Walkabout (1971)

*** 1/2 (out of 4)

A girl (Jenny Agutter) and her young brother (Luc Roeg) find themselves in the Australian outback trying to survive after being left out there. Soon they run across a hunter (David Gulpilil) who is out there on a "walkabout."

Nicolas Roeg's WALKABOUT is without question one of the greatest looking films that you're ever going to see. I've often said that this film did for the outback what Stanley Kubrick's 2001: A SPACE ODDYSEY did for space. I mean, whenever you think of a dessert setting your mind can't help but go to the images on display throughout this poetic look at struggle.

For my money the greatest thing done by Roeg is just the atmosphere and setting that he creates. There's not too much dialogue but what really moves the film is the beautiful music score and cinematography. The images that we view are breathtaking from the opening scenes to the closing ones. The stuff in the outback is beautifully captured and there's no doubt that the setting comes to life. The music score also perfectly captures the innocence and beauty of everything going on.

The performance by the three leads are another major plus. Agutter rightfully became a name after this picture and it's easy to see why. The role here certainly isn't flashy but the actress is able to do so much with such little dialogue. Her eyes certainly tell you everything you need to know and there's a very intelligent performance. You can see her intelligence without her saying a word. Both Roeg and Gulpili are equally as great in their supporting roles.

WALKABOUT is certainly a very poetic film that has some of the greatest images that you're ever going to see. It's really a film full of life and the way it plays out holds your attention from start to finish.

In the late sixties and early seventies there was an unusual kind of excitement when you went to the movies. It probably had not happened since movies were first invented and has not happened since in commercial theatrical releases. This was the feeling of "I don't know what is going to happen next"! What happened one day was completely unexpected when I first saw the opening of "Walkabout". The introduction gave almost no clue as to what was to come next, but it was visually and aurally fascinating. The rapidity in which the plot shifted gears made you more sympathetic to the plight of our main characters. The sudden appearance of the Aborigine boy in the nick of time and his taking them under his wing. Then surprises of all surprises--our heroine does many nude scenes. Then her final look of yearning at the end suddenly explains it all. All the while Roeg is doing a travelogue of the Australian outback. This movie is pure genius from beginning to end. A must for any movie collection.