Il sapore della saggezza

Just like to add that the movie was based on a book by a turn of last century feminist Australian writer called Ethel Florence Robertson who wrote under the psedoymn of Henry Handel Richardson. She herself went through a similar experience in her childhood due to her brash nature and musical ability and also the death of her father at a young age. Her sexual orientation and particularly her relation with an old school friend was controversial. It's a funny little story and i think anyone who has been in a situation where they had a different family or social background will relate to it. Not a "wower" but it does give the audience a sense of life going on despite all that people may do.

Just a bit of background information for all who would like to know

What a real feeling of Australia this film has. It is like a documentary, unapologetically showing us teenage girls as bullies and snobs. Their cruelty is matched only by an underlying innocence. The film does not hate them, but shows them for what they are - all too human. This includes the heroine in her struggles to stand out. She does because she has a talent for music, nurtured by her long-suffering mother. Great supporting cast and background detail. Another remarkable fact is that the same director and production team who made all those ocker comedies had the versatility to adapt a literary classic.

Bruce Beresford's 1978 drama is a likable movie, one that is part of the 12 DVD boxed set 'Australian Cinema Collection vol 1', that I imported from Down Under and am working through. This is the 2nd disc.

Usually, period dramas and ones that feature boarding school girls, hold less interest for me and I wasn't necessarily looking forward to watching it. However, it rolled along nicely, with believable and unpretentious characters, both the girls and the staff. The dialogue was 'teenage-girly' and believable as was the rather stuffy infatuation with and study of the classics, which was the way of etiquette and all that, back in the 1880's. Their recital and devotion to learning it is both touching but also slightly pathetic, if you think that there were so many other things in the world for them to be taught.

Which is what it was all about, really. Class. How you couldn't step up the ladder and how your social circumstances dictate how you live and how others treat you. Aside of that, I found the puppy love crush on a handsome teacher by quite a few of the girls absolutely wonderful and so very normal!

The Getting of Wisdom is not really a film I'd probably watch again, at least not in a hurry. It's certainly not Australia's best film but a very satisfactory one.

"The Getting of Wisdom" is a cinematic gem that delicately weaves the coming-of-age journey of its protagonist, Laura Rambotham. Set against the backdrop of a 19th-century Australian boarding school, the film beautifully captures the nuances of adolescence, self-discovery, and societal expectations.

The cinematography is stunning, transporting the audience to a bygone era with its meticulous attention to period details. The ensemble cast, led by a compelling performance from the lead actress, brings depth to the characters, making them relatable and authentic.

The narrative unfolds with a perfect blend of humor, drama, and poignant moments, making it a captivating watch from start to finish. The script, adapted from Henry Handel Richardson's novel, explores themes of identity, resilience, and the pursuit of knowledge in a way that resonates with audiences of all ages.

The director's skillful storytelling ensures a seamless flow, while the film's soundtrack complements the emotional beats, enhancing the overall viewing experience. "The Getting of Wisdom" stands out as a timeless exploration of the human spirit, leaving viewers with a sense of nostalgia and a renewed appreciation for the complexities of growing up.

This film directed by Bruce Beresford is like the underbelly of fellow Australian Peter Weir's 1975 Picnic at Hanging Rock, also set in a turn of the century ladies college, but while Weir's title is all romantic lyricism, Beresford goes for lowbrow comedy. Beresford's out to show how schoolgirls are just as cruel as schoolboys by placing a fish-out-of-water into their "well-bred" environment. Of course, it's no surprise that the impoverished heroine Laura is far more civilised than the other girls. That is, until she learns that the "wisdom" to be got is being an opportunist. Pauline Kael put it best when she wrote "what she learns is the principle of contagion - that you get close to the powerful, so that their power can rub off on you, and stay clear of the helpless and weak, so their failure won't infect you". Such is the rewards of finishing schools. Beresford even gives us a freeze-frame close-up of Laura with over-bite begging for acceptance. He isn't interested in presenting these girls as beautiful or sensuous, and deliberately shows their facial pimples and awkward bodies. Even the suggestion of lesbianism in Laura's relationships with 2 girls are diffused by making one fat and expelled (for stealing from the others to buy a ring for Laura), and the other a rich older student, who cradles Laura in bed like a mother. The female staff are also grotesques - Sheila Helpmann as the schoolmistress wears an unwavering look of disdain, though when she drops it at Laura's graduation, we get a laugh, and Beresford undercuts the sight of floating black swans that Laura feeds by having them bleet loudly. The film works the best with Beresford's use of Laura's piano playing, when he edits to his comic routines, but he unfortunately indulges Barry Humphries as the school's minister in a long monologue where he denounces the thieving friend.