Today I have the lovely pleasure of welcoming a very special guest, actor John Orcsik, to CINEMATIC REVELATIONS for an interview. John has acted in many motion pictures over the years, making his film debut in the NUMBER 96 movie [my review of the film can be found here] PETERSEN, THE MAN FROM HONG KONG, THE EDGE OF POWER, KOKODA CRESCENT, and, most recently in THE BBQ, to name a few films. In this interview John will be discussing his part in the NUMBER 96 movie, acting, television, and his role as founder and director of The Australian Film & Television Academy (TAFTA).
Welcome to CINEMATIC REVELATIONS John!
Athan: When did you first realize that you wanted to be an actor?
John: When I was about 6 or 7 years old.
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Athan: Where did you study acting?
John: I didn’t. I began with an amateur theatre company in Perth, Western Australia and went to workshops and classes there. I read everything I could and tried to invoke “The Method”, but it really didn’t work for me.
It actually didn’t make logical sense even though I’d read Stanislavski’s books several times.
I auditioned for NIDA in the mid 60’s and was accepted and even offered a scholarship but sadly my father got very sick and then died. And the course then was only two years full time.
During my father’s lengthy illness I was offered a role in a Shakespeare play at the then Playhouse Theatre. It was fully professional and the equivalent would be, say The Melbourne Theatre Company or the Sydney Theatre Company. So I began to work with professionals, some of whom were imported from England. My training therefore was on the job for about two years.
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Athan: Your performance in the NUMBER 96 movie as businessman Simon Carr was a finely-drawn, perceptive portrait of a man confused about his sexuality, making Simon Carr a fascinating figure. You appeared in the first year of the serial, but left thereafter. How did it feel to be asked to star in the movie version of the program?
John: I didn’t want to do it. The offer came while I was shooting Petersen in Melbourne and when I read the script I thought that they “tinkered” with the character of Simon Carr. I foolishly thought that I had some kind of ownership on the character and wasn’t prepared to play it as written. That was pretty naïve of me.
And stupid. But I eventually agreed and have not regretted it one iota.
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Athan: What did you find most exciting about the experience of making the NUMBER 96 movie?
John: Working at a pace I’d never worked before. The cast and Producers and Writers had all become my friends and it never seemed like “work”. I was to experience that again some years later when I joined the cast of Cop Shop. The camaraderie was incredible. I have many wonderful and fun stories during the show.
And even though I wasn’t a regular cast member of Number 96 it felt like I was.
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Athan: For you, what was the most demanding, but emotionally satisfying segment of filming NUMBER 96 the movie?
John: Probably the infamous kiss. I’d never kissed a man before. Not like that.
Joe and I decided we wouldn’t talk about it. Not discuss it. I didn’t talk to anybody about it and come the day every Tom, Dick and Harry came on the set. It’s ridiculous to think now how much pressure that scene was beginning to place on myself and Joe. Then we just did it. The sky didn’t fall in. The earth didn’t tremble. I remember the Director called ,”CUT” and I just turned to Joe and said something like, “You should shave more closely,” which brought laughter and a round of applause from crew and the onlookers. And then sadly it was all over and I was looking to my next job.
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Athan: In the NUMBER 96 movie there was an excellent confrontation scene between Simon Carr and Maggie Cameron, who was lamenting her loneliness, and lashed out in a drunken rage at Simon, Vera, and Don. How for you was it filming these emotionally heated scenes?
John: Bettina and I had become good friends as had Elaine and I and Joe.
During the series Bettina (Maggie) and I would often travel to Channel Ten together and we’d rehearse along the way and these scenes were a lot of fun.
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Athan: Have you kept in contact with any cast members and crew from NUMBER 96?
John: Not really. Sadly most have passed away. Elaine, Bettina, Johnny Lockwood, and Joe married and moved to Indonesia where he still is. I think. Of course I worked with Joanna Lockwood for many years after in Cop Shop.
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Athan: NUMBER 96 the movie was directed by Peter Benardos, who also directed the television version of NUMBER 96. What was it like being directed by Mr Benardos in the NUMBER 96 movie?
John: Peter was the perfect director for a fast turn-around series and when it came to the movie he was the perfect choice. No nonsense. No in-depth soul searching about where to go with a scene - Just do it. A principle that has stayed with me since.
I loved working with him and Producer Bob Huber who became a very close friend.
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Athan: Apart from motion pictures, you have appeared in many television shows and telemovies over the years. What for you are the main differences between acting in feature films, and acting on television?
John: Pace. The speed at which things are done. In films you probably shot three to four minutes of screen time on average but in a TV Series like Number 96 or Cop Shop you probably shoot 13 to 18 minutes of screen time in a day. The attention to small details is the key in a film. On all levels not just performance.
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Athan: You have been an acting coach for many years, being the founder, and director of The Australian Film & Television Academy (TAFTA), which began in 1994 on the Gold Coast, Australia, and has grown to Melbourne, Sydney, and Adelaide. What is it about coaching students in acting that gives you the most satisfaction?
John: Watching them grow, develop and become aware of their talents. Also their ultimate success and we have had many.
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Athan: Do you have any upcoming projects of which you would like to tell readers?
John: I am waiting on COVID to die down somewhat and I have two exciting new Australian plays that I am going to Act in and Direct. They are called REAL and Sharaf written by Michael Griffiths.
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Thank you so much today for your time John, and for the understanding you have provided into the art of acting, the NUMBER 96 movie, television, cinema, and your role as an acting coach. It has been wonderful having you on CINEMATIC REVELATIONS. You are welcome to return whenever you wish.
Today I have the great pleasure of welcoming a very special guest, actress Lynn Rainbow AM, to CINEMATIC REVELATIONS for an interview. While Lynn has acted in two motion pictures over the years, being the big-screen version of NUMBER 96 [my review of the film can be found here] and the animated film SHERLOCK HOLMES AND THE SIGN OF FOUR, she has acted prolifically on Australian television. Some of Lynn’s television credits include the series version of Number 96, Homicide, Division 4, Matlock Police, A Country Practice, and Home and Away, to name a few examples. In this interview Lynn will be discussing her role in the NUMBER 96 movie, acting, being recognized for her work as a Member with the Order of Australia (AM) in 2016, and as Vice-President of the Actors & Entertainers Benevolent Fund in Brisbane, Australia.
Welcome to CINEMATIC REVELATIONS Lynn!
Athan: When did you first realize that you wanted to be an actress?
Lynn: I think it was in my DNA. I am the fourth generation. My great grandfather John Fuller came to New Zealand from England and was known as the ‘Silver throated tenor of New Zealand. My Grandfather Sir Benjamin Fuller was a theatrical entrepreneur with his brother Johnny and created Fuller’s Theatres all around Australia and New Zealand. My mother was a dancer and her partner was Ron Shand (Herbie in Number 96). Then there was me. I don’t remember not performing.
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Athan: Where did you study acting?
Lynn: With Dame Doris Fitton at the Independent Theatre school, North Sydney. We were taught by the wonderful movement teacher Keith Bain, Robert Levis and Peter Summerton. Doris only paid the main 2 or 3 actors so all the smaller parts were played by the students. Also the students performed the Saturday afternoon Children’s plays. There is nothing harder than a restless young audience.
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Athan: I loved your performance as Sonia, a young woman whose husband attempted to steal her fortune by trying to drive her insane in NUMBER 96. You had left the series the previous year, and were invited back for the movie. How did it feel reprising the role of Sonia for the NUMBER 96 movie?
Lynn: Well I knew the character so well even though the circumstances were different. I had been working solidly in theatre since I left the TV series. I remember how much fun it was to be back with the old gang. We were a very close knit unit and we were truly all good friends. By this time Tom (Oliver) and I were married. It was a very happy time.
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Athan: What did you most enjoy about the experience of filming the NUMBER 96 movie?
Lynn: Enjoy is probably not the word. Sadly, it was shot so fast like the TV series. I shot 18 scenes in one day. It was lucky I knew and understood my character. There was no time to get deep and meaningful, ‘just say your lines and don’t bump into the furniture’.
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Athan: What for you was the most demanding, but emotionally satisfying segment of making NUMBER 96?
Lynn: In the TV series it was probably the relationship and kiss I had with black dancer and actor Ronnie Arnold as it was the main reason Number96 the series could not be sold to the USA.
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Athan: Have you kept in contact with any cast members and crew from NUMBER 96?
Lynn: Oh yes! I was very close to Bettina Welch (our families shared Christmases) and darling Elaine Lee and Gordie McDougall until their deaths. Sheila Kenelly knew my second husband before me, as she bought one of his bulls and lived near us. I see Joe Hasham whenever I go up to Indonesia. Liz Kirkby and Carol Raye live in the country now, so I don’t see as much of them. David Sale (the creator of Number96 the TV series and the film) and I are still close as he has recently moved up to Queensland.
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Athan: NUMBER 96 was directed by Peter Benardos, who also directed the series version of Number 96, and was his only feature film. What was it like being directed by Mr Benardos in the NUMBER 96 movie?
Lynn: Peter was such a nice man, a gentle director. He was under pressure to get the film done, but he knew we knew our characters and so I think he trusted us not to let him down. Just few gentle words here and there.
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Athan: You filmed all your scenes in the NUMBER 96 movie over the course of a single day, and subsequently acted on stage in a play the same evening, which is a significant achievement. How was the experience of undertaking this for you?
Lynn: Yes, as I have said I shot 18 scenes in one day, then went straight to the theatre to play the lead Elvira in “Blythe Spirit”, which was the same night my in-laws who had just arrived from England, came to see the play!! You might say a very full day.
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Athan: You have done much stage work, and in television. What were the differences you found in acting for the screen, and in the theatre?
Lynn: I am a creature of the theatre. Film and Television technique were not taught when I was at drama school. I always felt at home on stage it was my domain and our voices (with no mics) had to reach the back stalls and the gods 6 nights and 2 matinees a week. It is so much fun winning over an audience on a cold winters evening when you know they’d rather be at home. I never felt comfortable on camera as I felt too constricted. I learned by watching others, by the seat of my pants really.
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Athan: You received the Order of Australia in the 2016 Queen’s Birthday Honours for ‘significant service to the community through support for a range of cultural and charitable organisations, and to the performing arts as an actor’. How did it feel to receive this tremendous honour?
Lynn: Oh, it is such an honor and such a secret to keep. You are contacted several months before, to see if you are willing to accept the Honour. I was like a little bubbling kettle. The strap on my shoe broke just before the ceremony at Government House in Brisbane. The shoe was whisked away, fixed and placed back on my foot a la Cinderella before I knew it. The wonderful thing is that although you are the recipient of the Honour, it is really about all the people who have helped realise the dream. The Judge Rainbow Memorial Fund, of which I am now Patron, La Boite Theatre, The Rainbow Reid Endowment fund at Creative Industries (acting) for Artists in Residence, and of course my beloved Actors Benevolent Fund.
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Athan: You are Vice-President of the Actors & Entertainers Benevolent Fund in Brisbane, Australia. How did you become involved in the Fund? What makes you most proud of being a member of the Fund?
Lynn: It seems I have been involved with the Actors Benevolent Fund all my life. I was on the ABFNSW for two 10 year stints and another continuing stint when I moved up to Queensland. I became involved with the fund in the late sixties. It is such a wonderful group who help their fellow performers and is totally confidential. Recently, and long overdue, we have amalgamated (while retaining each States autonomy) into the Alliance of Australasian Performing Arts Benevolent Funds, AAPABF with Cate Blanchett as our Patron. During this pandemic when so many people in the Arts are hurting, it never ceases to amaze how generous the Public is.
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Athan: Do you have any upcoming projects of which you would like to tell readers?
Lynn: Not really, just more of the same. If something new comes up. I’ll let you know.
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Thank you so much today for your time Lynn, and for the insight you have provided into the art of acting, NUMBER 96, theatre, the Order of Australia, and the Actors & Entertainers Benevolent Fund. It has been wonderful to have you on CINEMATIC REVELATIONS. You are welcome to return whenever you wish.
Synopsis: The lives, and loves, of the residents of an inner-city apartment building named Number 96.
Within a film history context: Movies which have an apartment block as their focus, charting the lives of those living in these buildings, have sometimes been featured in film history. One of the first to deal with the topic was Frank Tuttle's LADIES SHOULD LISTEN (1934). In this movie, a woman working as a switchboard operator in an apartment complex falls for a man living in the building, discovering his amour is trying to cheat him financially, and seeks to expose her, and her scheming husband. Equally focused on romance was THAT MAN'S HERE AGAIN (1937), directed by Louis King. It followed the blossoming relationship between an elevator operator, and a homeless young woman, with a number of misunderstandings before a happy ending. In a more suspense vein was H. Bruce Humberstone's I WAKE UP SCREAMING (1941). An apartment building is where the majority of the action occurs, specifically the apartment two sisters share, where one of them loses her life to a psychotic man. An exceedingly glamorous take on the theme was offered by DISHONORED LADY (1947), directed by Robert Stevenson. A fashion magazine editor's high life causes her emotional issues, and she is urged by her doctor to change her ways, and move to a smaller apartment, but her past resurfaces to create torment.
A comical view of apartment living was the gist of Delmer Daves' A KISS IN THE DARK (1949). A pianist discovers that he is the owner of an apartment building, and this leads to romance with one of the tenants, but also involvements with the other occupants in this breezy movie. The noir film THE WINDOW (1949), directed by Ted Tetzlaff, was also largely set in an apartment building. A young boy witnesses a murder committed by fellow residents, and is not believed by either his parents, or the police, but events conspire for his testimony to be finally validated. Similar to A KISS IN THE DARK, the action in Joseph Newman's LOVE NEST (1951) revolved around an apartment complex, this time a married couple owning the building, and coming into contact with wacky tenants. One of the most famous films set in an apartment building was REAR WINDOW (1954), directed by Alfred Hitchcock. A man uses a telescope, and views his neighbours in the opposite complex, and believes one of them has committed a murder, which leads to many unexpected developments. Also filled with tension, Roman Polanski's ROSEMARY'S BABY (1968) had its main characters live in a spooky apartment building, where they encounter neighbours who have more to them than first meets the eye.
A serio-comic take on apartment living was taken to new heights by THE LANDLORD (1970), directed by Hal Ashby. A wealthy young man purchases a dilapidated apartment building, and sets about to refurbish it, with many obstacles thrown in his way, and involvement in the lives of his tenants added, in this thoughtful film. Much more outrageous was Herbert Ross' THE OWL AND THE PUSSYCAT (1970). Mainly set in an apartment complex, and focusing upon the comings and goings in the home of a bookseller, and his involvement with a brassy prostitute, the movie's comedic elements, and racy action and dialogue, delivered by Barbra Streisand and George Segal, ensured it was a box office success of its time. Much of the action in LAST TANGO IN PARIS (1972), takes place in the lead protagonist's apartment, where an explosive love affair between a widowed man, and a young woman, develops. The intimate, and emotional nature of the affair differentiates this film in terms of the other movies with an apartment block setting. NUMBER 96 took a cue from the comedy films set in an apartment block, but added its own touches to the genre.
In terms of a multi-character emphasis, NUMBER 96 was closest to A KISS IN THE DARK, LOVE NEST, and THE LANDLORD in charting the events which occur to a large number of characters who all live in the respective apartment building. The comic elements in all three films somewhat matched the quirky story twists and turns of NUMBER 96, possibly the only difference is the attention in NUMBER 96 to sexual situations and saucy comedy, rather than more straight-laced comedy. In comparison, THE LANDLORD's sexual themes were more subtle in nature, addressing race and class, than the franker portrayals in NUMBER 96. Vera's romance with politician Nicholas Brent was the exception, one with pathos and guilt, deviating from the more physical interactions of Jack and Diana, Vera and Simon, and Simon and Don. Aside from this, other features of NUMBER 96 were worthy of discussion in retrospect.
While the overwhelming priority was on comic aspects, NUMBER 96 was not all fun and games. There is an easy blending of comic and dramatic components, with the serious sequences giving another perspective on the characters, deepening the viewer's knowledge about them. NUMBER 96 variously deals with issues such as rape, homosexuality, loneliness, and mental illness within its parameters. Some of the film's best set pieces revolve around Sonia's mental issues, and how her husband is trying to gaslight her. Likewise Vera's rape is shocking without being too explicit, cutting away at the right moment. The travails of career woman Maggie Cameron are also revealing, especially her drunken tirade, and gay slur against Don and Simon made for riveting viewing. In addition, the number of different character viewpoints makes the film reminiscent of THE LANDLORD, but in a livelier, bawdier manner. A likable movie, and an interesting addition to films set in apartment buildings, NUMBER 96 has some thoughtful moments which work well alongside its more raucous stretches.
Overview: Number 96 was a nightly adult soap opera, broadcast on the Australian 0-10 Network from 1972 until 1977. The show caused a sensation when it first aired, being a bubbling combination of drama, broad comedy, and hijinks, with a concentration on sexual content, specifically nudity. Its controversial profile ensured high ratings, and in its tenure tackled many subjects such as cancer, crumbling marriages, homosexuality, interracial relationships, and rape. The campy nature of the program eventually faltered, though, with ill-considered decisions, mainly the death of beloved characters, making their impact felt on viewers' consciousness. In the early 1970s, when the program was at its height, it was decided to film a movie version of the television series. It was a financial success, filmed in colour, that was another lure as the television series was still shot in black and white at the time. NUMBER 96's director was Peter Benardos, an Australian director and producer of episodic television in Australia for soap operas such as Neighbours but, is best known for his contributions to Number 96. As NUMBER 96 is Mr Benardos' sole motion picture directorial credit, this overview will be devoted to a discussion of his role in this movie.
On the surface, NUMBER 96 is an entertaining extension of the popular series, featuring many of the characters who graced television screens with their presence. It moves quickly, at a good pace, without being too fast, and, thankfully, never drags. Basically following an episodic structure similar to the television series, it features a large ensemble cast, with many stories intertwined to sound effect. The way the movie is written, it is easy to pick up on the action, and characters, without any overt complexity. While familiarity with the television show was possibly a given, one would not have to have been a viewer to enjoy this film. The combination of drama, and comedy is also good, never jarring in moving from one story to the next. The comic vignettes have some very amusing passages, such as Dorrie's marriage woes, without being too over the top. Aside from this, there are also subtle references to class conflict through the use of character Claire, and her glamorous story is a contrast to the more everyday lives of the residents of the apartment block. NUMBER 96 does have a number of good qualities such as those described, but there are issues with the film when examined in more detail.
Two of the main stories, while adequately presented, could have benefitted from further work. The introduction deals with Vera's rape, which is shown as being an act of violence, given a haunting aura with a woman from the biker gang watching the rape unfolding, laughing demonically. The story deals with this situation in a quiet manner in the beginning, by having Vera recuperate from her ordeal at friend Claire's mansion. Vera then falls into bed with a younger man, and subsequently becomes involved with an older man. There is no real examination of the aftermath of Vera's rape, for example, by staying distant from men, or other romantic involvements. The rape is used as a point for Vera to end her relationship with the politician, but just because the rapist was the older man's son. There is no scene where she vents her anger at what happened, and this event, unfortunately, is played down psychologically, where it could have been more emotionally explosive. Another story in NUMBER 96 was also problematic in its execution.
The story of Sonia's mental issues, and marriage to Duncan, a man who only wants her money, and seeks to drive her insane, is good, but lacking in certain areas. The build-up to showing her husband Duncan as the louse he really is was not there, the viewer not given any idea until late in the story of his real intentions for his wife. Similarly, the use of Diana is equally indifferent. Shown as a bed partner for Jack Sellers, dressing and undressing, one is never given the sense that she dislikes being involved with Jack until the final scenes. There could have been scenes where Diana glowers after her session with Jack, which would have created additional suspense with the story. Instead, she is mainly used for nude scenes, but the sequences where Diana and Duncan try to send Sonia crazy are well-done, and visually artistic. A related issue is the leaning toward nudity in the film, especially in the case of Diana, which reeks of exploitation.
It is understandable that nudity would be shown in the film version, as the television series had a heavy emphasis on this, and sexual situations and innuendo, but having too much of it becomes grating. While it may have been seen as a drawcard for viewers, being that they could see things on the big screen that they could not on the small screen, one wishes that it could have been toned down. The rape scene could be noted as the exception, realistic in its horror, and brief use of nudity, but scenes such as Diana prancing around naked, bare in the horror sequence, and Vera and Simon's bed scene were unnecessary. Covering up more would have benefitted these parts, and not making the nudity the key element in the scenes. As it is, there is sufficient interest in the characters, and their plights, without having nudity shoved in front of one's nose at every opportunity.
The most comical scenes of nudity were the man in the laundromat undressing, and being caught by Dorrie Evans, and Dorrie stumbling into the male sauna, which both worked. A common element in 1970s Australian movies, and international cinema, male and female nudity, in retrospect, may have worked against what the filmmakers were trying to achieve. The intention to shock and surprise seemed to be paramount, and was in keeping with the uninhibited times of the era, but too much of this can detract from moments that should have been more telling in a humanistic manner. In summing up NUMBER 96, although it was, overall, a flawed piece of filmmaking, it was nevertheless an engaging film in its carefree, risque way.
Acting: While the entire cast performed well in NUMBER 96, there were some actors whose contributions in the film version stood out. Pat McDonald, as busybody Dorrie Evans, was an ace comedienne whose energetic performance was one of the reasons why the film, and the television show worked so well. In other hands this character may have been vapid and one-note, but Miss McDonald gives her Dorrie not only a brash attitude which is fun to watch but also a vulnerability, and moral compass, that makes Dorrie Evans a thoroughly three-dimensional character. Tom Oliver, as Jack Sellers, is the upbeat playboy whose witty wisecracks make him an appealing contrast to the other male characters. A personable actor with great charm, he shows a serious side in the story with Sonia that makes his Jack well-rounded. As Sonia, a woman plagued by mental issues, Lynn Rainbow is convincing as the put-upon heroine in a difficult predicament. With her eloquent dialogue delivery and warmth, Miss Rainbow draws sympathy with her predicament in the movie. On the other hand, NUMBER 96 wastes the talents of Rebecca Gilling as Diana. An attractive actress with the ability to connect with the audience, as borne out by her other cinematic, and television appearances, here her intensity has not been properly utilized. Joe Hasham, as gay lawyer Don Finlayson, contributes a thoughtful performance as the logical, friendly Don. The object of desire of both men, and women in both film and television versions of NUMBER 96, he is the most centred of all the characters. Five other actors also present distinctive performances in the movie.
Chard Hayward emits magnetism as waiter Dudley Butterfield, displaying a facility with saucy one-liners. Mr Hayward's larger-than-life personality is a delight to witness, providing some of the movie's most pleasurable moments. As Vera Collins, Elaine Lee exudes glamour as the seamstress with a questionable past. An actress with a smoky voice and charismatic personality, she shines as the beleaguered heroine with a pleasing sense of humor. In a completely different vein was the bewitching Bettina Welch as businesswoman Maggie Cameron. The bitchy Maggie is most comfortable when chewing people up, and with a propensity for tipsiness, but Miss Welch makes Maggie a character with depth, where there is more going on beyond first appearances. John Orcsik, as businessman Simon Carr, Vera and later, Don's lover, strikes a subtle note in the film. An actor with a composed, low-key aura, and soothing voice, he does great work as the sexually-confused, intriguing Simon. His confrontation scene with Bettina Welch's Maggie is powerful to witness. As the haughty Claire Houghton, Thelma Scott brings an air of the aristocratic to NUMBER 96. With her plummy voice and snobby dismissals of modern society, Miss Scott is another memorable portrayal. The final acting of note in NUMBER 96 was by Patrick Ward as Tony Brent, the son of politician Nicholas Brent. An actor whose model looks made him appear out of the pages of a fashion magazine, he brings a simmering anger and danger to the movie that is potent, despite his character appearing for a short time on screen.
Soundtrack: NUMBER 96 has a spare soundtrack, mainly consisting of the opening, and closing credits theme, which was the same one utilized on the television series. Composed by Tommy Tycho, this score perfectly encompasses the variously madcap, raunchy, serious tone of the film, and series. The only other non-diegetic music was the creepy piece accompanying Sonia's nightmare, with diegetic music employed in Dorrie and Herb's costume ball wedding anniversary party.
Mise-en-scene: The film version of NUMBER 96 uses the opener, and closing theme from the television series, which provides a sense of comfort, and familiarity, to the movie. Filmed in colour at a time when the television series was still taped in black and white, the colour is quite good, if not entirely crisp. The sets are similar to what was shown in the television version, and the movie also contains quite a few outdoor sequences, such as Claire Houghton's pool, which give the goings-on a realism that only authentic locations can provide.
Notable Acting Performances: Pat McDonald, Tom Oliver, Lynn Rainbow, Joe Hasham, Chard Hayward, Elaine Lee, John Orcsik, Bettina Welch, Thelma Scott, Patrick Ward.
Suitability for young viewers: No. Male nudity, female nudity, adult themes, medium-level violence.
Synopsis: Two war veterans, one a young man, the other his grandfather, have an explosive encounter at the latter man's home which leads to tragedy.
Within a film history context: Movies which explore post-traumatic stress disorder (PTSD) as a result of military participation have been around for many years onscreen. One of the first was William Dieterle's THE LAST FLIGHT (1931). Young veterans from World War I spend their time whiling away time in Paris, drinking excessively to dull their pain, and become involved with a woman, among their exploits. William Dieterle also directed another film about PTSD, being I'LL BE SEEING YOU (1944), this time, with an American setting. In this movie, a man suffering from shell shock falls for a woman just released from prison to spend time with family at Christmas, but her past may get in their way in this sentimental romance. Edward Dmytryk's TILL THE END OF TIME (1946) concentrated upon several World War II veterans, and the difficulties they faced in coming to terms with their lives as civilians. One of the most famous films dealing with returning veterans was THE BEST YEARS OF OUR LIVES (1946), directed by William Wyler. A touching exploration of veterans, and their return to society, albeit with great hurdles, it was one of the highest-grossing films of the decade, and a triumph for all involved. Anthony Kimmins' MINE OWN EXECUTIONER (1947) featured a character who suffered from psychological trauma after being trapped in a Japanese prisoner of war camp.
At the beginning of the 1950s came one of the most famous films dealing with PTSD, being THE MEN (1950), directed by Fred Zinnemann. Dealing with a World War II army veteran who lost the use of his legs after being shot in the spinal region, and his relationship with his fiancée, it gave Marlon Brando a meaty part as the young veteran. Another closeup of emotional issues caused by war could be found in Fred Wilcox's SHADOW IN THE SKY (1952). Here, a man has been placed in a mental facility as his psychological issues have taken over his life, but his return to society is successful in the end. 5 AGAINST THE HOUSE (1955), directed by Phil Karlson, had a character who suffered from PTSD after his stint in the Korean War. Richard Thorpe's TIP ON A DEAD JOCKEY (1957) showed how a man who fought in the Korean War experienced PTSD, manifested in his behaviour, such as divorcing his wife, and falling into drink and gambling. The real-life story of American Indian Marine Ira Hayes was dramatized in THE OUTSIDER (1961), directed by Delbert Mann. In this film, Mr Hayes' depression after serving in the Marine Corp during the Iwo Jima battle, and subsequent alcoholism were spotlighted, with Tony Curtis in the lead role. A rare film dealing with PTSD was Bobby Davis' A TORN PAGE OF GLORY (1968). Concentrating upon the problems of Vietnam veterans, and the emotional upheaval they experienced, it was mainly notable for starring Aldo Ray in the central role. As with the 1960s, the 1970s had varied types of films with carefully-drawn PTSD characters.
A central character in RYAN'S DAUGHTER (1970), directed by David Lean, in this case an Army Major from World War II, suffered PTSD in the form of flashbacks to his time in the trenches. A Vietnam veteran with major psychological issues causes untold problems in John Guillermin's SKYJACKED (1972), including an unending hostage crisis. One of the most trenchant depictions of PTSD in film was captured by TAXI DRIVER (1976), directed by Martin Scorsese. In this movie, a disturbed Vietnam veteran drives taxis for a living, and the audience is taken through the odyssey of his life, his shattered state of mind drawn with precision for the viewer. PTSD from serving in Vietnam was also explored in John Frankenheimer's BLACK SUNDAY (1977). A man suffering from PTSD after being a prisoner of war becomes involved in terrorist activity in this taut thriller. ROLLING THUNDER (1977), directed by John Flynn, also had a character plagued by PTSD. A Vietnam veteran returns home, his family subsequently killed, but he exacts his revenge in a methodical manner, the stigma of war still fresh for him in this suspenseful movie. Hal Ashby's COMING HOME (1978), presented PTSD in an intensive manner, with two characters going through this after having served in Vietnam, a study in contrasts and mindsets. Similarly potent was THE DEER HUNTER (1978), directed by Michael Cimino. In this instance, three characters who have done a tour of duty in Vietnam are compared, particularly their emotional states, in this financially successful but controversial, movie.
Segueing into the 1980s, there were plenty of movies featuring characters with PTSD from military activity. William Peter Blatty's THE NINTH CONFIGURATION (1980) had a mentally disturbed Vietnam veteran, whose unstable recollections and flashbacks caused much mayhem in the narrative, and as head of a mental health facility, encouraging patients to act upon their wildest thoughts. In comparison FIRST BLOOD (1982), directed by Ted Kotcheff, began the blockbuster film franchise which told the story of a Vietnam veteran who unwittingly became enmeshed with unsavoury characters. He goes on the run as a fugitive, being pained by PTSD along the way. Andrei Konchalovsky's MARIA'S LOVERS (1984) was the sensitive story of a man returning home after being a prisoner of war in a Japanese camp during World War II. He finds things have changed greatly at home; his first love is now with another man, and the road back to her is complicated by his PTSD, and memories of his harsh experience in the camp. BIRDY (1984), directed by Alan Parker, was another movie that contrasted the aftermath of Vietnam veterans in a different manner. While one veteran is mentally well, the other has emotional issues, always wanting to become a bird, their friendship tested on many levels when they return home. In a decidedly exploitation vein was Buddy Giovinazzo's COMBAT SHOCK (1984). A Vietnam veteran with severe PTSD has an horrendous time trying to find work, his mental state and messy personal life exacerbating his despair, leading him to commit heinous acts. In CEASE FIRE (1985), directed by David Nutter, the pressures of life, including employment issues, and recollection of Vietnam make a veteran's life a living hell, almost ending his marriage in the process.
Erik Jacobson's FURY TO FREEDOM (1985), marked the real-life journey of Paul Ries, Vietnam veteran who suffered mightily from PTSD, with violent tendencies, but one day was inspired to find the strength to rebuild his life through religion. A MONTH IN THE COUNTRY (1987), directed by Pat O'Connor, charted the lives of two emotionally-delicate World War I veterans, and their recuperation while carrying out work in a country church. Gilbert Cates' BACKFIRE (1988) mined similar territory with CEASE FIRE in the form of a Vietnam veteran with PTSD, but this time with an unfaithful wife, and a psychotic man after his wife. DISTANT THUNDER (1988), directed by Rick Rosenthal, was not only notable storywise for its PTSD-plagued Vietnam veteran character, and his efforts to connect with his teenage son, but also, its miniscule box office take. More vigorous, but also inspirational, was David Jones' JACKNIFE (1989). Following the lives of two Vietnam veterans suffering from PTSD, and their interpersonal relationships, colored by their war experiences, it was a showcase for Robert De Niro, and Ed Harris in the main roles. A Korean war veteran was the focus of CHATTAHOOCHEE (1989), directed by Mick Jackson. In this film, based upon a true story, a man causes harm to himself, and is committed to a mental facility, where he discovers stunning inequities and crimes occurring in the hospital by doctors, and staff members. Oliver Stone's BORN ON THE FOURTH OF JULY (1989) was one of the most famous of the real-life stories about a Vietnam veteran. Based upon the life of Ron Kovic, who was paralyzed in the Vietnam war, it was a critical and financial success, and gave Tom Cruise one of the best roles of his career. Into the 1990s, more films about PTSD war veterans appeared on screen, albeit less in quantity.
In a more suspense vein was JACOB'S LADDER (1990), directed by Adrian Lyne. A Vietnam veteran is caught in an emotional web and tug-of-war with himself, and life. A thoroughly different spin on the theme was served up by W. Blake Herron's SKIN ART (1993). A Vietnam veteran has an uncommon occupation for the genre, being a tattoo artist, but his emotional issues are still present for him, which cause him setbacks. The touching THE WAR (1994), directed by Jon Avnet, had a Vietnam veteran released from a mental health facility, and the difficulties he encounters gaining employment due to his time in the hospital. Marleen Gorris' MRS DALLOWAY (1997) included a small PTSD component within its structure, with a World War I soldier suffering mightily from mental problems, and taking his life, unable to control his memories of war. The 2000s also spotlighted varied depictions of PTSD for audiences.
PTSD from military participation is also given a workout in THE HUNTED (2003), directed by William Friedkin. This time around, a United States Army Sergeant is in distress after serving in the Kosovo War, this experience leaving a heavy emotional toll. The trials and tribulations of returning to civilian life were explored in Irwin Winkler's HOME OF THE BRAVE (2006). The lives of three American soldiers who had done a tour of duty in Iraq are contrasted, one of these being a female Sergeant, and the obstacles they faced in attempting to find normality in their everyday lives. As with HOME OF THE BRAVE, STOP-LOSS (2008), directed by Kimberly Peirce, also dealt with veterans of the Iraq War, with one of the two soldiers in the narrative exhibiting signs of PTSD in his behavior, while the other was more philosophical in character. PTSD is also examined in detail in Hunter LeMoine's SAM'S RAIN (2009). The return home of a war veteran from Iraq is not as cut and dry as expected, with his psychological issues manifesting themselves in his everyday life, despite being well-received by family and friends. With BROTHERS (2009), directed by Jim Sheridan, a United States veteran from the Afghanistan mission, once presumed dead, returns to his life, and goes on a downward spiral, mainly due to his part in a fellow soldier's death. Unlike the 2000s, the 2010s had many more movies dealing with PTSD from being in the military.
A more positive view of PTSD was present in Ryan Piers Williams' THE DRY LAND (2010). A young veteran returns home from serving in Iraq, and finds solace with a old army friend, but still feels out of place. IN OUR NAME (2010), directed by Brian Welsh, was about a female soldier who has come back from Iraq, how her mental state affects her marriage, and also, relationship with her daughter. With Christopher Martini's TROOPER (2010), contrasts are drawn between two veterans, in this case, of a father and son who had both served in the military at different times, being the Vietnam, and Iraq Wars respectively. HAPPY NEW YEAR (2011), directed by K. Lorrel Manning, focused on an Iraq War veteran who at first finds happiness with fellow veterans in a hospital, but their contentment is short-lived, as their war experiences come back to severely haunt them. Another account of veteran displacement at home was Jeff London's A WARM WIND (2011). An Iraq veteran with both mental, and physical issues finds difficulties as he is misunderstood by his closest and dearest, but is cared for by his cousin.
THE LUCKY ONE (2012), directed by Scott Hicks, focuses on a veteran with PTSD, and his family, and romantic problems. A World War II Marine veteran was the protagonist of Paul Thomas Anderson's THE MASTER (2012). The veteran in this case not only suffered from PTSD, but also drank to excess, indulged in sexual activity, and became involved with a man from a religious cult, in turn showing the veteran's vulnerability. A World War II British soldier is hampered by PTSD after being held captive by the Japanese in THE RAILWAY MAN (2013), directed by Jonathan Teplitzky. The movie shows how his psychological trauma has continued for many years after his ordeal, and is heightened when he discovers his torturer is still alive. The story of soldier Chris Kyle was dramatized in Clint Eastwood's AMERICAN SNIPER (2014). Following the Marine's four tours of duty in Iraq, his subsequent PTSD, and personal life, it was a profitable film, and offered Bradley Cooper a standout part in the lead role. Challenging in tone was AN ACT OF WAR (2015). directed by Ryan Kennedy. A veteran who has served in the Middle East returns home, finding work in a cinema, but his desperation leads him into dangerous situations that only heighten his psychological problems. Danny Buday's BATTLE SCARS (2015) was like AN ACT OF WAR, in this instance the veteran was from the Afghanistan war, but also become enmeshed with brutal people and activities, not assisting the healing of his PTSD.
With BILLY LYNN'S LONG HALFTIME WALK (2016), directed by Ang Lee, a young Iraq War veteran is haunted by his experiences during the war, and how these colour his everyday life as a civilian. In a more period vein was Dee Rees' MUDBOUND (2017). The movie posits oppositions between two World War II veterans, one white, one black, and charts their friendship when they return home to Mississippi, one suffering from PTSD. A contemporary take on matters was on show in THANK YOU FOR YOUR SERVICE (2017), directed by Jason Hall. Several Iraq War veterans suffering from PTSD are not only haunted by the past, but have to endure the present tenuous circumstances of their lives. Paul Cook and Carmel Hannant's British film MAGPIE (2018) was about the effect a World War II veteran's PTSD had on his marriage, and his wife's relationship with an American soldier. Related, but at the same time contrasting was Max Martini's SGT. WILL GARDNER (2019). Again looking at PTSD through the eyes of an Iraq War veteran, this film had its titular character take to the road on a motorcycle to reunite with his young son, and mend fences with his family. STATE was reminiscent of many of the PTSD-themed movies of military personnel, and the consequent emotional war wreaked on their protagonists, but possessed its own unique traits.
It shared that thoroughgoing focus of the effects of PTSD on its characters, such as in the movies TILL THE END OF TIME, THE MEN, COMING HOME, and THE DEER HUNTER, to name a few examples. The vast majority STATE is devoted to talk about war, particularly with reference to the grandfather character. Where it diverted was in the extremely small number of characters whose PTSD was placed under the microscope, being two, with only one other main character. This has the effect of making STATE even more rigorous in its execution of PTSD themes, as the film itself is short, and no time is spared on minor details, incidents, or characters. While, in one way. the lack of extra characters means there are no alternate events with which to compare the brooding story of the grandfather and his grandson, it works as a tight, consuming narrative. A creditable foray into a subject that has received vast coverage in cinema, STATE works well despite its limitations, in particular, its brief running time.
Overview: STATE is the film directorial debut of Alain Nouvel, who has credits in various areas such as producing and sound. As this is the first film for Mr Nouvel, and there is no other movie with which to compare it, a review concentrating on STATE will follow. In essence, STATE is a sound picture that moves quickly, and is compelling to watch. Mr Nouvel has made a film that possesses a definite atmosphere of suspense, with good pacing, and a foreboding sense of doom that works. Despite the film's short running time, Mr Nouvel has succeeded in fashioning a movie that keeps the attention from beginning, to end, and contains a good flow of narrative events. In saying this there are, though, issues with the film which did stand out, and lessen its effectiveness.
There are a number of confrontation scenes between the characters, and these are heated and explosive. In these powerful scenes, the use of a certain expletive was extremely distracting, and overused. There was the hope that other words could have been utilized to offer some variety in terms of the dialogue, but this never happened. Having swear words spoken at a frequent clip took away from the tense mood the film was attempting to build. There is another issue with the film which seemed discordant when taking the whole movie into account. The young woman in the movie was, essentially, problematic as a presence. It felt as if she only existed for the sex scene between her and the young man, which, any which way, was out of place in the film. In addition, this sequence did not explore much between them; a compelling dialogue exchange would have been better, enlightening the viewer about their relationship. This tendency is also reflective of other parts of the film which could have been fleshed out better, as they left questions open that needed answering.
While the movie is brief and there is not sufficient time to explore everything, it left a number of questions unresolved. The nature of the relationship between the young man and woman, as stated earlier, such as how long they knew each other, was not addressed. In addition, her relationship to his grandfather, and why was she so affected by his passing at the end, did not receive attention. The older man, and the younger woman never shared a scene together, yet she was in the young man's arms at the end, consoling him. Other burning questions were also posed by the film. How long the young man was in the military, finding out more about his post-traumatic disorder, and why he was so annoyed by his grandfather, would have clarified these interactions. As things stand, it left the viewer both intrigued by its ellipses but also, dissatisfied. In the final analysis, STATE was a good film. The director, Alain Nouvel, exhibits a style which is individual, and knows what makes a good story. It would be interesting to see more from Mr Nouvel, albeit in a longer format, as there is the sense with this film that it was too truncated in nature. A film of greater length would allow for a fuller exploration of the feelings, and emotions of his characters that Mr Nouvel has proven with proficiency in STATE.
Acting: The film has a small cast of three actors, but they ably provide the viewer an engaging experience. In the lead role of the young man returning from armed combat, Patrick Cragin is excellent. His intensity, and ability to say so much in a non-verbal manner with his face, body language and, especially, his eyes, makes him a compelling performer. One could easily discern that he was a veteran with PTSD judging from his actions, such as when the young woman attempts to feed him, and he initially flinches at this. As the young man's grandfather, Myles MacVane is equally adept as expressing emotions without having to utter a word. His slow actions, filled with thought and angst, and confrontations with his grandson are the scenes in the movie that are the most memorable. The young man's girlfriend, played by Courtney Sturm, does a creditable job, even though her role is small, and character somewhat unsympathetic at times. Lurching from passion to anger to confusion, with some quiet moments at the end, Miss Sturm is convincing as the kittenish young woman.
Soundtrack: STATE has an effectively creepy soundtrack, consisting of background music that sets a mood of gloom and doom from the first frames. Aside from this, there is also an effective use of songs, especially the beautiful 'Les Feuilles Mortes' performed by Yves Montand. This particular song gives the final scenes a lushness, and the entire film an unexpected aura of release from its heated emotions.
Mise-en-scene: STATE is beautifully shot by cinematographer Toby Petch, the color restrained, and not bright, which complements the dark nature of the film. Outdoor settings are well-utilized, particularly the scenes in the street where the young woman plays games with the young man's backpack during the evening. The most prominent interior setting, being the older man's house, is concentrated upon the living room, where the majority of the action occurs. The spare lighting in the room, with only a television set on, and a flickering fireplace, work in a metaphoric manner, denoting the heady emotions in play in these scenes, and the movie in general. One of the most interesting scenes was the final few that featured a subtle use of colour, specifically highlighting the trees and landscapes of the filmic milieu. The colour here was a contrast to the majority of the film, where the feel was dark and unsparing. In these sequences, there was the intimation that a new beginning was in store for the characters, and their lives, in consequence, would be rosier than their past haunting experiences.
Notable Acting Performances: Patrick Cragin, Myles MacVane, Courtney Sturm.
Suitability for young viewers: No. Frequent coarse language, brief female nudity, adult themes, medium-level violence.
