Having started my Australian-themed film week with Celia, I’m skipping back ten years to a real classic of the era, and a film that launched the career of one of Australia’s best known directors, Gillian Armstrong, whose 1992 film The Last Days of Chez Nous I’ve also reviewed on here. (NB I only realised after watching and writing the text below that this has recently been released on the Criterion Collection, but it won’t be until 2032 that I’ll get to that film, so expect another review in, er, 13 years.)
This film is now 40 years old, and I wonder whether a lot of the issues that it addresses, the rich emotional lives it affords to its characters, and particularly the way it resolves the central romantic pairing, are still somewhat ahead of their time even now. There are certainly plenty of filmmakers who could do some catching up. Published originally in 1901, My Brilliant Career is a late-19th century story of colonial Australia starring a young Sam Neill (who almost 40 years later would be in a quite different rendering of a similar period in Sweet Country). Here he plays Harry, a dashing young man competing for the hand of Sybylla, but it’s very much her film, and that of Judy Davis who plays her. Indeed the very first scene sets that much out, as Davis makes an iconic entrance* reading the words of Miles Franklin, that this is a story about her. It’s also a story about finding one’s own way in the world (shades of The Souvenir which I just watched yesterday) and about colonial-era class relationships, though the society it depicts remains very white (there are some Aboriginal servants, but these are only glanced briefly in the background). At this remove, it feels like there’s a preponderance of Australian cinema dealing with its colonial European past from the 1970s, though that’s partly just how brightly Picnic at Hanging Rock still shines, but each of these films deserves its place in expanding the possibilities of a specifically Australian cinema, and Syb (as Harry calls her) feels like a very modern woman, even now, even in 2019.
* I don’t know if it’s iconic, but it should be.
Director Gillian Armstrong; Writer Eleanor Witcombe (based on the novel by Miles Franklin); Cinematographer Donald McAlpine; Starring Judy Davis, Sam Neill, Wendy Hughes; Length 100 minutes.
Seen at home (DVD), London, Sunday 1 September 2019.