Wake in Fright 4K 1971

It's hard to believe that Canadian director Ted Kotcheff, who has worked with varying degrees of success in a wide range of genres, is responsible for this existential parable. Of course, many will say that the director's portfolio includes the famous First Blood (1982) or the clever Weekend at Bernie's (1989). But these films are fundamentally different from the Australian film Wake in Fright (1971), which is ambitious in its conception and extraordinary in its execution.

Unlike the films of the 1980s and 1990s, which were constrained by studio conditions, Kotcheff's film does not seem constrained at all. It is made with the notorious “seventies” freedom and is impressive in every way—sharp editing, a moving camera, and a relaxed approach to depicting scenes of sex, violence, and naturalism. At the same time, all of the above is so inseparable from the story that the director does not resort to pure formalism or exploitation.

The film tells the story of a teacher named John Grant, who teaches in a place called Tibunda - not the best place in Australia. Christmas is coming. The children are going on vacation, and John is planning to escape to Sydney. What follows is a whirlwind of events that force him to stay for a while in the small but very hospitable (without quotation marks) town of Bundeyabbe. Kotcheff's work is by no means a popular variation on the “yuppie in danger” genre. On the contrary, there are no threats to the hero's life as such. The director is interested in something else: a situation where a person from one social stratum (or culture) finds himself in another, as a result of which he gradually becomes a different person. And this is despite the fact that his soul resists such a “transformation” in every way.

The shy, intellectual John finds himself in the natural world of the Yappa people, who are accustomed to drinking in groups, hunting kangaroos, and openly making love to their friends' wives. This “uninhibited” world seems strange and unfamiliar to both the main character and the viewer. If desired, the film can be compared to Nicolas Roeg's The Wicker Man (1971), released in the same year. Both films share a theme of “wildness” and a meditative quality.

But of course, the main climactic event of the film is the kangaroo hunt. Interestingly, Kotcheff's film has similarities with Sam Peckinpah's brilliant film Straw Dogs (1971), which has a completely different mood. Both films feature hunting. But while in Straw Dogs this episode, filled with symbolic meaning, is more psychological and plot-driven, in Wake in Fright it is a complete illustration of human madness. And how can we not recall Carlos Saura's The Hunt (1966)?

However, despite this, Kotcheff's film is completely different from The Hunt, from the aforementioned Pequinpa film, and from John Boorman's Deliverance (1972), which was released a year later and overwhelmed the viewer with almost surreal horror. There is less violence in Wake in Fright, and it is of a different nature.

The acting performances cannot be overlooked. Popular actor Donald Pleasence is extremely convincing in the role of a local drunk doctor. As for Gary Bond, Grant's role remains his best appearance on the big screen. It is also worth noting Kotcheff's wife, Sylvia Kay, who played the role of Jeanette. In addition to the main characters, the film has a number of colorful supporting characters.

Unfortunately, this unique film failed at the box office and did not gain the recognition it deserved (although it was nominated for the Palme d'Or), remaining in the shadow of its more famous rivals. However, in terms of its artistic merits, the film can easily stand alongside them.