Réveil dans la terreur

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.

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.

"Outback" is unlike any other film ever made and quite impossible to categorize. If the movie taught me anything at all, it's that the Aussies can drink seriously hard and loads of it. They even drink till they pass out and then immediately open another can when they come to their senses again. I thought only Belgians did that. You cannot possibly count the amount of beer cans and bottles that are consumed in this film and the most repeated line of text/monologue is without a doubt: "C'mon mate, let's have a drink then". Based on the novel by Kenneth Cook, "Outback" tells the story of a young school teacher visiting the little outback community of Bundanyabba, where the local population is so hospitable and acts so familiar it becomes truly disturbing. They fill their days with drinking, gambling, getting involved in bar fights, drinking again, kangaroo hunting and drinking some more. John initially disapproves their savage habits and looks somewhat down upon the villagers, but slowly and gradually he becomes one of them as he wastes his entire year salary on booze and primitive roulette games. "Outback" is very slow-paced and moody. Sometimes you can literally taste the copious amounts of liquor and experience the heat of the Aussie summer. The noticeable heat, together with the feeling pure geographical isolation truly makes the film disturbing and uncomfortable as hell. "Outback" works effectively as psychological drama but even more as the non-fictional portrait about a society that is largely unknown and unspoken of. The footage of the kangaroo hunting trip is haunting and very, very depressing. I was really relieved when, during the end credits, a message appeared on the screen to state that no real kangaroos were harmed during the production. The film mostly benefices from astonishingly mesmerizing photography, superb music and Ted Kotcheff's solid direction. The versatile and brilliant actor Donald Pleasance is even convincing as an Aussie drunkard and the rest of the relatively unknown cast delivers great performances as well. This is one of them unique movies you only encounter a couple of times in a lifetime, but it's incredibly obscure so if you find a copy treasure it. So mate … shall we have a beer then?

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

School is out for the Christmas holiday, and teacher, John Grant (Gary Bond) has six weeks before the next term. So, he leaves his rented room in Tiboonda, Australia, hops a train, and heads for Sydney. Along the way, Grant stops off in the town of Bundayabba for a night. Here, he discovers what just might be the answer to his secret prayers.

Since he's not really fond of teaching anyway, Grant believes he's found an easy way to pay off his government debt, thereby escaping his job. It all comes down to the toss of two coins, which appears to be the biggest excitement in town. That, and consuming incredible amounts of alcohol.

Unfortunately, Grant finds himself skint, and constantly delayed and drawn in by the "hospitality" of the inebriated, crackpot locals. Not surprisingly, this includes his consuming oceans of beer. The longer he stays in the Yabba, the deeper he falls into stupor and depravity.

WAKE IN FRIGHT is an increasingly frenzied spin into drunken madness. Disturbing, nightmarish, and fascinating, this movie takes the viewer on Grant's dark journey to near oblivion. The opening and closing shots establish the desolation between them, showing the utterly barren landscape that seems to stretch on forever. By the end, Grant has gone through torment and desperation, and makes one wonder what will become of him.

Co-stars the vastly underrated Donald Pleasence as the unassumingly low-key, Doc Tydon, and Sylvia Kay as the palpably bitter, Janette Hynes. Chips Rafferty also puts in a great performance as the gleefully corrupt cop, Jock Crawford.

ANIMAL LOVERS BEWARE: The infamous kangaroo hunt is truly terrible, as well as lengthy. Although it is explained in the disclaimer, it's still difficult to watch...