Another review

Reviewed By Bob Banka; November 19, 1998

Unlike most of the standard fare emerging from larger Hollywood film production companies in the nineties, Peter Weir's PICNIC AT HANGING ROCK doesn't have a 'connect the dots' storyline, or drama with resolution - it's a puzzlement, an enigmatic film which begs questions, yet provides no answers.

Though this Australian production, Weir's first major film, had only a limited release back in 1975, it garnered great critical praise - and then quickly disappeared - re-emerging sporadically for 'art house' theater screenings. 'PICNIC nearly disappeared altogether, remaining virtually unseen. It has even escaped home video release in this country. But, thanks to Janus Films and The Classic Collection, it was recently re-released theatrically in this new director's cut - a pristine print, sporting a newly-remastered Dolby soundtrack. It was inevitable, given Weir's subsequent success as a film director since his released, and then quickly shelved, first feature, that this gem would be granted this much deserved, and greatly appreciated, resurrection. I'm only surprised it took this long.

Since the early eighties, Weir has remained ever-so-slightly out of the mainstream to helm a number of thought-provoking features, like GALLIPOLI, THE YEAR OF LIVING DANGEROUSLY, FEARLESS and last summer's improperly marketed TRUMAN. Along the way, he has also managed one or two mainstream pics, such as WITNESS and GREEN CARD. Mainstream or not, a number of the director's films, as noted by film critic Roger Ebert, deal with characters that are outsiders - folks who don't quite fit in a particular environment or society. Perhaps this is the Aussie in Weir, a man from a land 'civilized' by outsiders, who managed fine along the coastal areas, but who faired poorly when straying deeper in country - to the 'outback,' where only the Aborigines knew and understood the lay of the land and its dangers. Like his later features - PICNIC AT HANGING ROCK, deals with this element of displacement, and it's handled subtly, and brilliantly, with a tapestry of beautiful images and music, rather than plot and dialogue.

PLOT SYNOPSIS

On Valentines Day, a Saturday in 1900, a group of young girls, and two instructors from Appleyard College climb aboard a horse drawn wagon for an excursion to a local, ancient geological marvel known as 'Hanging Rock' for a picnic. Before leaving, the headmistress, Mrs. Appleyard (Rachel Roberts) warns of the dangers at the rock - its poisonous ants, spiders, and snakes, and the girls are told to stay near the foot of the rock · no foolish tomboy explorations of its more hazardous higher trails.

The girls arrive at the rock in their confining, luxurious, Victorian dresses, and carrying parasols - and after some exploring and a lunch, they lounge about lazily - reading, napping, and enjoying the flowers and a little shade. Three more adventurous girls, led by Miranda (Anne Lambert), ask permission to explore further along the rock - promising not to climb, and to return shortly. Permission granted - they wander off, a fourth young lady tags along, but shortly into their walk, she's complaining and wanting to turn back.

Finding the forbidden fruit irresistible, the girls begin to climb the rock - passing higher and higher along twisting maze-like trails, through tall rocks which blot out much of the sun. They pause once or twice along the way, acknowledging the need to turn back - but they continue upward. During one break, they fall asleep in a small clearing. Upon awakening, three begin to climb again, moving into yet another passage between the rocks. The fourth, less enthusiastic girl, cries after them, but they continue out of sight.

Suddenly, the fourth girl is running and screaming down the rock. The three girls have vanished. One of the instructors who set off looking for them has also vanished.

Police from the small local town search the rock for the girls time and again in the coming days, but they have no luck. Eventually, one of them is found by a lad who dares to climb high enough into the rock. She's taken to a doctor, but when well enough to speak - she says that she remembers nothing.

The rest of the film unfolds to show how the disaster effects the girls remaining at the college. One in particular, Sara (Margaret Nelson), an orphan who attends by the graces of a guardian, takes it very badly, since her best friend is among the missing. The headmistress only feels the economic stress created by the event. She has lost a good teacher, and three sources of tuition, and more parents are sending telegrams saying they will not allow their daughters to return next term.

Peter Weir uses beautiful images, bathed in sunlight, and set to haunting pan flute music, or Mozart concertos, to create a hypnotic effect and draw in the viewer. Odd sound effects erupt from nowhere and drone on the soundtrack. The wind whistles and whispers along the rough faces of rock, and through leaves and blades of grass. There are close ups of insects eating picnic desert, and a lizard slithering by a sleeping girl. It's all strangely beautiful, and very effective at conveying the intoxicating atmosphere which seems to sweep the girls up the rock and carry them away forever. PICNIC AT HANGING ROCK is a beautiful film that will have different meanings for different viewers.

The 'director's cut' tag should be noted here. Peter Weir actually trimmed footage from the film for this presentation - about seven minutes. The movie was already evasive, and made little attempt to provide answers for the viewer. My understanding is that, with this material removed, the film has been rendered still more mysterious by the director.

The transfer was supervised by director Peter Weir. Quoting Criterion's packaging; "This new digital transfer was created on a high-definition Spirit Datacine from a new 35mm interpositive made from the original negative" Criterion has done a marvelous job transferring Weir's film to DVD. I suppose there is a temptation with this wonderful digital technology to sharpen up an image and increase detail. We have seen the annoying effects of digital over-enhancement on a number of discs - for example, MGM's 2001: A SPACE ODYSSEY. However, wanting to retain the hazy, sun-drenched look of the film's exteriors, as well as the warmth of its glowing interiors, the folks at CC have avoided such a wrong turn, and produced a gorgeous, very film-like presentation.

Colors are soft, warm, and glowing - phrases like 'fully saturated' and words like 'vivid' really have no place here. There are no stark colors. 'PICNIC has a subdued palette, with shades of rose, lilac, and yellow. Exteriors are gold, brown, and many shades of green.

Throughout the film - interiors and exteriors, colors look wonderful, and remain solid.

There is never a hint of grain or motion artifacts. Flesh tones look natural in nearly every scene - only on a handful of occasions do they appear a bit orange. Blacks are deep, rich and solid. The print itself, though not completely free of nics and scars, looks very nearly pristine. An excellent transfer.

This is the very first Dolby Digital 5.1 mix from Criterion. It's not a dynamic mix by any means, due to the nature of the story - however, it serves the film perfectly. The .1 FX channel is used sparingly for a deep droning sound effect - an ominous tone, heard during some of the more haunting moments in this often spooky film.

The surrounds are primarily employed for ambient effects to create a subtle, but very effective, surround presence. This is most prominent during the scenes around, and on the rock, during and after the picnic. Chirping, whistling, and squealing insect sounds are accompanied by the sounds of the wind moving through trees and grass and along rock faces. There are also a barrage of unique, and indescribable sound effects on the track that go a long way to help support the film's hypnotic quality.

The forward sound stage is wide, but not very deep. Dialogue sounds natural and well integrated. The highlight of the mix is the haunting music - much of which is played on pan flute. There are also snippets of classical pieces for piano and orchestra, as well as a string quartet. One piece of music, which accompanies the scene where the girls climb higher and higher on the rock, is powerful, with a haunting 'melody' that whirls its way up the musical scale. The music is well recorded throughout, and occasionally expansive into the surround speakers.


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