CAREFUL, HE MIGHT HEAR YOU (1983)

Title: CAREFUL, HE MIGHT HEAR YOU

Year of Release: 1983

Director: Carl Schultz

Genre: Drama

Synopsis: In 1930s Australia, PS, a young boy, whose mother passed away early in his life, is caught between two maternal aunts Lila and Vanessa who each seek custody of him.

Within a film history context: Films revolving around custody battles over a child between two opposing parties have been onscreen since the 1920s. One of the first documented movies about the topic was Louis Gasnier's silent film FAINT PERFUME (1925). In this movie, a couple divorce, and battle over the custody of their son, with romantic issues arising as the husband falls for his wife's cousin. More serious was John Robertson's WEDNESDAY'S CHILD (1934). A young child is a pawn between his divorced parents, and his adjustment to this new situation is fraught with difficulty. Matters were somewhat different in BRIGHT EYES (1934), directed by David Butler. With Shirley Temple in the lead role, a young orphaned girl goes to live with a wealthy family, arranged by her uncle, with her godfather vying for her custody. On the other hand, Walter Lang's CARNIVAL (1935) featured a widowed puppet master with a young child, who is sued for custody by his father-in-law, but finds difficulty eluding the determined man. Employment was the motivation for a custody battle in STEPCHILD (1947), directed by James Flood. A woman's marriage breaks up as she wants to keep her job without giving her two young sons attention. The couple divorce, and the husband gains custody of the children, with the woman wanting to stay with her husband, but he is seeking another mother figure for his children, with tenuous results. 

Larry Peerce's ONE POTATO, TWO POTATO (1964) was equally complicated. A white woman divorces her husband, and marries an African-American man, but her former husband seeks custody of their son, in light of his ex-wife's new mixed marriage. Much more extreme in content was THE LAST WOMAN (1976), directed by Marco Ferreri. A man is deserted by his wife, leaving him with an infant son. He then embarks on an affair with a young woman, but his ex-wife seeks custody of their child, the pressure of this making him castrate himself. Controversial for its male, and female nudity, and one violent scene in particular, it gave Gerard Depardieu a showy role. One of the best known films about custody battles was Robert Benton's KRAMER VS. KRAMER (1979). In this movie, a woman leaves her husband, and their young son, but later contests custody, their messy relationship, and the impact on their son the basis of the story. A highly profitable modern drama, it earned four Oscars for best picture, director, and lead actors Dustin Hoffman and Meryl Streep. CAREFUL, HE MIGHT HEAR YOU could be seen as being as intricate in nature as ONE POTATO, TWO POTATO, and as emotional as KRAMER VS. KRAMER, but otherwise carved its own unique path.

It is one of the most intensive, psychological, and stirring portraits of characters involved in a custody battle for a young child ever filmed. As with many of the films above, special mention going to KRAMER VS. KRAMER, CAREFUL, HE MIGHT HEAR YOU is a movie that takes its time in building the dramatic situations for its viewers which makes one feel for the characters, and deeply comprehend their particular mindsets. CAREFUL, HE MIGHT HEAR YOU has a serene, lush atmosphere that immeasurably assists in this; the story is never rushed, everything is presented and explained thoroughly, with no plot holes or gaps. It is a film that flows effortlessly from scene to scene without any staginess. Some moments of melodrama abound in the film which are to be expected, but these are in keeping with the action, and never out of place. There are further features of the movie that set it apart from other entries in the genre.

It is difficult as such to pinpoint a villain in CAREFUL, HE MIGHT HEAR YOU as everyone's motivations make perfect sense, thus eliminating the easy way out of stacking the cards against certain characters to make them look bad. The characters have been so well defined that they jump off the screen for their realism, their passions highly palpable to the viewer. There are no two-dimensional protagonists here to let down the proceedings, thus making the film hollow. In addition to this, the film lacks the sensational elements that distinguished THE LAST WOMAN, hence leaving a sour taste in the mouth with that movie. CAREFUL, HE MIGHT HEAR YOU is more of a slow burn narrative, the heightened scenes of drama achieved through careful story building without the need for visual excess. A dignified film that deserves its high critical reputation, CAREFUL, HE MIGHT HEAR YOU is an enriching, one of a kind movie experience.

Overview: Born in Hungary, Carl Schultz has directed seven films over his twenty-one year cinematic career, the majority Australian films, with many credits on television. His first film, BLUE FIN (1978) was a family film about a father and son involved in tuna fishing in South Australia, with Hardy Kruger in the lead role. Mr Schultz's second movie, GOODBYE PARADISE (1982) starred Ray Barrett in the story of a former policeman penning a tell-all book about police corruption on the Gold Coast, Queensland, with a string of adverse circumstances eventuating from his novel. It was also the first time Mr Schultz directed Robyn Nevin on screen in this comedic action film. BULLSEYE (1987) was an historical adventure film about a pair of friends in the 1860s who steal cattle, transporting it across Australia. 

One of Mr Schultz's most intimate films was TRAVELLING NORTH (1987). In this comedy-drama, an older couple make the move to the country, with the movie exploring their passions, marriage and life. With seasoned thespians Leo McKern and Julia Blake as the married couple, it was a touching viewing experience. Mr Schultz then made a foray into fantasy and religious themes with THE SEVENTH SIGN (1988). A pregnant woman's anticipation of her child's birth is the starting point of an intricate chain of events with many biblical overtones. Lambasted by critics, it is a complicated work with much suspense and angst to spare. Carl Schultz's final film to date is TO WALK WITH LIONS (1999). The biography of wildlife conservationist George Adamson, it was another of Mr Schultz's films with an adventure background, as was BLUE FIN. CAREFUL, HE MIGHT HEAR YOU is one of Carl Schultz's best-known motion pictures, and undeniably his crowning achievement as director.

As with TRAVELLING NORTH, Mr Schultz concentrates upon a set of characters, presenting them with all their positive traits, flaws and foibles for the audience to take in and consider. There is also the exploration of interpersonal family relationships that BLUE FIN studied to a smaller degree. Where CAREFUL, HE MIGHT HEAR YOU differs is in the utterly compelling, emotional approach to its story and characters that Mr Schultz has accomplished, across a larger number of protagonists than the other films. Viewers can thoroughly relate to, and understand where the characters are coming from, in whatever they do and say. They are three-dimensional in every respect, and never act out of character, or do things which are not true to their beliefs. 

Adapted from the auto-biographical novel of the same name by Sumner Locke Elliott, CAREFUL, HE MIGHT HEAR YOU is an emotionally charged, thoughtful viewing experience, that leaves the spectator satisfied, but also, hopeful. Mr Schultz has created an enthralling mix of drama and pathos, with some subtle comic moments that occur at just the right time, giving the film equilibrium. Always on target, never over the top as a film, it knows how to pull at the heart-strings in its richly textured manner. A fine achievement of the Australian film industry, and one of the best motion pictures ever, CAREFUL, HE MIGHT HEAR YOU is a movie that does both its director Carl Schultz, and Australian cinema, proud.

Acting: CAREFUL, HE MIGHT HEAR YOU has a top-notch cast which make the film a thoroughly vivid viewing experience. Wendy Hughes is touching as Vanessa, one of two sisters vying for custody of PS. What could have been an empty villainess in other hands is given a graceful, sympathetic treatment by the actress, making her actions understandable to the audience. As Vanessa's nemesis, and sister Lila, who also wants PS, Robyn Nevin delivers a strong, equally excellent performance. These actresses work so well together that their animosity fuels the movie, and is one of its many strong points. As PS, the object of everyone's attention, Nicholas Gledhill gives a wonderful account of a strong-willed young boy caught within a tangled web of adult emotions, and many of his own. Impressive given the actor's very young age at the time of the film's production, Mr Gledhill played PS as the innocent, the mischief-maker, and the child seeking to carve his own identity. Supporting roles have also been furnished exceedingly well in CAREFUL, HE MIGHT HEAR YOU.

Geraldine Turner, as Vere, Lila's neighborhood friend, adds her unique personality to the film. An actress adept as being alternately brassy, strong and empathetic, with a wonderfully bawdy nature, Miss Turner lights up the screen in the limited time she has on camera. John Hargreaves, as Logan, also adds his distinctive persona to CAREFUL, HE MIGHT HEAR YOU. While retaining some of his easy-going nature in this film which is on display in his other movies, Mr Hargreaves adds a sympathetic note to the role of the wayward wanderer, with a nice dose of unexpected urbanity that suits him. The final acting of note in CAREFUL, HE MIGHT HEAR YOU was by Peter Whitford as George. Paired well with Robyn Nevin's Lila, Mr Whitford brings his pained George to life, most tellingly during his most emotional scenes, which are haunting to witness. 

Soundtrack: The instrumental score composed by Ray Cook enhances what is taking place on screen immeasurably, without ever being syrupy or overdone. Background music is played throughout CAREFUL, ME MIGHT HEAR YOU, and especially at key moments such as Lila and Vanessa's limousine confrontation, to maximum emotional effect.

Mise-en-scene: Everything presented in front of the camera for viewers makes CAREFUL, ME MIGHT HEAR YOU an authentic movie experience. Costuming by Bruce Finlayson is on target, suited to the characters. The designer makes evident differences in characters' socio-economic levels, with Vanessa's elaborate wardrobe a telling contrast to Lila's more down-to-earth clothing, reflecting her working-class status. Cinematography by John Seale employs a subtle use of colour, ideal for a film set in the 1930s. While the film is visually beautiful, the muted colour assists in capturing life in 1930s Australia without ever being harsh on the eyes. Brighter colour hues would not have assisted the movie, as it is not a technicolor musical, and would consequently have been detrimental. Use of colour in CAREFUL, HE MIGHT HEAR YOU is soft, and appropriate for a film that explores emotions in such a profound manner.

Award-worthy performances in my opinion: Wendy Hughes, Robyn Nevin, Nicholas Gledhill, Geraldine Turner, John Hargreaves, Peter Whitford.

Suitability for young viewers: Suitable for children with adult discretion. Adult themes, low-level violence.

Overall Grade: A

Link: IMDB Page

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THE REMOVALISTS (1975)

Title: THE REMOVALISTS

Year of Release: 1975

Director: Tom Jeffrey

Genre: Drama

Synopsis: A woman assists her sister in reporting an incident of domestic violence to the police who become involved in the case, with surprising but horrific results.

Within a film history context: Themes of domestic violence, and disintegrating marriages/unions, have appeared many times as an element in cinema over the years. One of the first documented films dealing with the issue was George Melford's silent film THE COST OF HATRED (1917). Starring Kathlyn Williams, it was about a woman who had an abusive husband, and her love affair with another man which led to consequences years later for her amour's son. Due to the Hays Code and its rules for filmmaking from the 1930s until the 1950s when it began to weaken, domestic violence did not appear much on film in only anything but its mutest form. One of the major exceptions was William Wellman's 1937 A STAR IS BORN. The first version of a story also filmed in 1954, 1976 and, most recently, in 2016, it centered around a fading Hollywood star who marries a woman who eclipses his fame, this causing tension in the marriage. Psychological in intention, and tragic in its ending, it is one of the most moving portrayals of domestic violence, the performances stellar. The 1950s, though, brought some of the most famous films which dealt with domestic violence. 

George Cukor's BORN YESTERDAY (1950) had the boorish, emotionally abusive Broderick Crawford verbally, and physically, taking out his anger on the vulnerable Judy Holliday. It was a film which deftly combined comedy and drama in a manner that has rarely been seen in cinema with the domestic violence theme. Daniel Mann's COME BACK LITTLE SHEBA (1952) was another variation on the theme. In this film, a young woman comes to live in the house of a drunkard and his wife, her arrival creating waves in what was already a shaky marriage. WRITTEN ON THE WIND (1956), directed by Douglas Sirk, had a small domestic violence component which was evident in the marriage of Kyle and Lucy Hadley, this largely marked by Kyle's drinking and insecurity. Moving into the 1960s and later, further portrayals of domestic violence and related themes were candid, and eye-opening for audiences at the time, still having power in the present age.

Mike Nichols' WHO'S AFRAID OF VIRGINIA WOOLF (1965), a watershed in censorship history for its language and themes, featured a couple who swapped verbal insults with abandon, this reflecting their tenuous marriage, and tumultuous relationship. It could be said that they abused each other in equal measure, something never before seen as it was usually one person being dominated by another within the filmic world. X, Y AND ZEE (1971), helmed by Brian G. Hutton, was similar to WHO'S AFRAID OF VIRGINIA WOOLF as it again starred Elizabeth Taylor in the role of the main female protagonist. This time around, though, she verbally throttled husband Michael Caine, driving him into the arms of another woman, and causing further untold misery within the course of the film. Francis Ford Coppola's THE GODFATHER (1972), within its expansive framework of themes, also touched upon domestic violence. Connie Corleone, Michael Corleone's sister, had an abusive husband who was swiftly dispatched in the film. In the case of THE REMOVALISTS, it shared some elements from the afore-mentioned films, but added original touches of its own to the theme of domestic abuse and verbal violence.

Unlike many of the films above, THE REMOVALISTS did not show the audience scenes where Marilyn was physically hurt by Kenny. Instead of this, the film displayed the scars which Kenny inflicted on Marilyn's body at the police station which carried an emotional impact on Marilyn, her body language and tiny voice the obvious signs of trauma. The movie, in terms of its victim Marilyn, was most similar to BORN YESTERDAY's Billie, with a loud male character drowning out her voice, but, this is where the affinities end. Unlike Billie, Marilyn is a wife and mother, and it appears that she harbors doubts as to whether she is doing the correct thing for herself by reporting her husband to the police. She also shared with Lucy from WRITTEN ON THE WIND in that she could not comprehend her husband's behaviour, and became somewhat withdrawn in the process.

What makes THE REMOVALISTS most striking, and diverts from the other films, is the role of the police in the domestic violence situation. This makes the film two-pronged, in that it is both an examination of a failing marriage but also, how police intervention may sometimes make a difficult situation only worse. The police take on the role of the vindicator of Marilyn's life in the film, but also, are the villain that they are not supposed to be. Their repeated thrashing of Kenny is shown as being justified due to Kenny's ongoing swearing and disrespect of women, but the film asks questions as to who exactly is the victim through the actions of the policemen, with Kenny's, and their own, fate resting in their hands. The relationship between Kenny, Neville and Dan ranges from sad to comical, fierce to sympathetic, which makes their interactions engrossing, and is symptomatic of the absorbing, beguiling nature of THE REMOVALISTS.

Overview: Tom Jeffrey was an Australian director of three motion pictures, also working on television series, and in the capacity of writer and producer of his own motion pictures, and those of others. His movies are brave, brutally honest examinations of aspects of both contemporary, and past Australian society. Despite only helming three movies, he had a varied and distinctive output. His second film, WEEKEND OF SHADOWS (1978), was set in 1930s Australia, and was concerned with the murder of a woman in a small town, and how a Polish man is accused of the crime, leading to violent repercussions. Mr Jeffrey's third and final film, ODD ANGRY SHOT (1979) was a film that detailed Australian soldiers' experiences while serving in Vietnam, done with candour, and containing many comic asides. THE REMOVALISTS, being Mr Jeffrey's directorial debut, shares the ability to relate to both sides of an issue that also exists in his other films, but deviates with its subject matter in this instance.

With THE REMOVALISTS, which is the film version of a play written by prolific Australian playwright David Williamson, Mr Jeffrey casts a light upon a situation, being how a supportive older sister assists her sibling in pressing charges against an abusive spouse, which results in the police becoming involved in this predicament. Mr Jeffrey tackles this issue in a detached manner, managing his actors to keep their emotions under control, which works in the film's favour as it unreels. The director takes time with the opening acts of the narrative, carefully arranging the characters in what would initially seem to be a simplistic premise peopled by stereotypes, and this bodes well for the film as a whole. 

Mr Jeffrey, over the course of the film, delves deeper into what is taking place, examining characters who may have, at first glance, seemed wafer-thin, by progressively peeling away the layers of pretense they were hiding behind. Truths emerge that may never have seen the light of day which cast a different perspective on the characters. Thus, the director provides a tense, cogent representation of a plight that may well have occurred at some time in life. This is the beauty of the film, shifting the view throughout as to who the villains are, but also, showing the emotional undercurrent that exists in their actions. While the film possesses these positive qualities, there are certain lapses without which it could have been even better.

There is a small incident where John Hargreaves' character, Neville Ross, refers to a certain part of the female anatomy in a vulgar term. This takes a little away from the film, making Ross not as squeaky clean as first thought, but it does not detract from Mr Hargreaves' excellent work as the hesitant, thoughtful Ross. Similarly, it would have been good to have known more about Chris Haywood's character, as he does wonders with his small part, and the character should have been connected even more to the main characters. This, though, points to another deficiency in THE REMOVALISTS. 

The film would have benefitted, for example, from additional scenes, such as more with Kenny and Marilyn, or flashbacks, to show what went wrong in their marriage. Short scenes would have made certain things about the characters even clearer for viewers, but staying faithful to a source play is understandable. It is a fine line in what to include and exclude in a film, but sometimes further clarification does not hurt the overall effect, only deepening viewer knowledge about the characters. Despite this, Tom Jeffrey should be commended for making THE REMOVALISTS a tight, compelling movie, that leaves the viewer uneasy but also, provides food for thought about humanity.

Acting: The performances of the actors in THE REMOVALISTS give the film an impetus and power that make it an exceptional viewing experience. As the head policeman at the station, Peter Cummins is excellent as the morally ambiguous but engaging Sergeant Dan Simmons. It is one of the most riveting representations of a corrupt, self-deceiving police officer ever filmed. He is matched by John Hargreaves as young Constable Neville Ross, Simmons' antithesis. It is interesting to note Mr Hargreaves' journey in the film from a rookie officer and his neophyte mistakes, to his final show of authority over Simmons. In contrast, Martin Harris offers a complex representation of the foul-mouthed, abusive Kenny. It is a credit to Mr Harris that he is able to mine sympathy out of such a resistible character, who, similar to Neville Ross, undergoes a transformation within the film's running time. The other actors also offer great performances in the film.

Kate Fitzpatrick projects an aura of steely determination as the upper-class Kate Mason, forthright sister of Marilyn Carter. What appears to be a prissy and uptight woman at the outset is made mesmerizing by Miss Fitzpatrick, and it is especially interesting to note her chemistry with Peter Cummins. Miss Fitzpatrick and Mr Cummins have an easy rapport in the film which makes their fieriest moments together both sad, and watchable. As people from opposite ends of the class spectrum, their clash is realistic. As Marilyn Carter, Kate's sister and Kenny's wife, Jacki Weaver brings her inimitable persona to the film, handling her character's predicament with a quiet but touching resignation. There are tender moments where she displays her sparkle, and these are featured in the introspective scenes where she remembers the best times of her marriage before it went awry.

Soundtrack: As with many films of the 1970s, THE REMOVALISTS has a spare soundtrack, mainly utilized during the opening and closing scenes, and the credits sequence. The piano and saxophone theme featured in the credits is suitably low-key, and in keeping with the film's assured pace, and ruminative outlook.

Mise-en-scene: The sets and location filming featured in THE REMOVALISTS are noteworthy of analysis for several reasons. At first glance, it would be easy to dismiss the mise-en-scene as being drab and colourless. The main settings, such as the police station, and the apartment of Marilyn and Kenny Carter, are hardly what would be considered glamorous, and, not intended to offer the audience pleasant eye candy. This, precisely, is why they function so well in the film. THE REMOVALISTS is down-to-earth in its execution, and this is also reflected in the sets. 

The backgrounds are functional in the way that they do not take away from the actors with their prettiness, which is what I presume the makers of the film intended. The film stock is not garish, but suitably understated, reflecting the humdrum lives of the characters. As THE REMOVALISTS is not a Technicolor extravaganza or musical, the subdued Eastmancolor cinematography works in the movie's favour. This is not to say that the viewer cannot see the action. The lighting allows for the characters to be observed properly, without shadows, which is also another very good technical aspect of the film. The film is to be applauded for its stark, naturalistic approach to mise-en-scene that could be said to have taken a leaf out of post-war film noir, or, Italian neo-realism of the 1940s and 1950s.

Award-worthy performances in my opinion: Peter Cummins, Kate Fitzpatrick, John Hargreaves, Jacki Weaver, Martin Harris.

Suitability for young viewers: No. Frequent coarse language, adult themes, medium-level violence.

Overall Grade: B

Link: IMDB Page

Trailer