Study Guide fiieducation Ballr Str ictly oom SYNOPSIS

At the Waratah Championships ballroom dancer Scott Hastings goes against Federation rules and impulsively dances his own steps, causing partner Liz Holt to dump him. Then Fran, ugly duckling of the beginners’ class, offers to be Scott’s new partner.

Initially sceptical, he is persuaded by her ideas, and together they plan to dance their own steps at the Pan-Pacific Grand Prix Championships.

But Scott’s rebelliousness does not go unchallenged. His mother Shirley and coach Les Kendall try various ways to prevent Scott from dancing with Fran, while corrupt President Barry Fife plots Scott’s downfall by concocting a story about his parents’ dancing career that will convince him to compete at the Pan-Pacifics without Fran.

All seems lost until Scott’s father Doug reveals the truth. With Barry Fife’s desperate attempts at sabotage having little effect, Scott and Fran complete their spectacular dance to rapturous applause from the crowd. Everyone takes to the dance floor in celebration.

CAST Scott Hastings Paul Mercurio Fran Barry Fife Doug Hastings Shirley Hastings Liz Holt Gia Carides Les Peter Whitford Rico Antonio Vargas Ya Ya Armonia Benedito Ken Railings John Hannan Tina Sparkle Sonia Kruger Charm Leachman Kris McQuade Wayne Burns Pip Mushin Vanessa Cronin Leonie Page Kylie Lauren Hewett Luke Steve Grace

CREDITS Director Producer Tristram Miall Screenplay Baz Luhrmann and Running Time 94 Minutes CONTENTS

Introduction 4

Images of 5

Baz Luhrmann’s Vision 7

The World of the Film 10

Hero, Heroine, Villain 14

APPENDICES

A–Baz Luhrmann interview 18

B–Tristram Miall interview 20

C–Sequences for study 22

D–Key moments 23

E–Film language 24

F–Filmography 25 INTRODUCTION

Australian director Baz Luhrmann's flamboyant and colourful debut feature

(1992) opens with a theatrical swish of red velvet curtains and leads us into the larger-than- life world of competitive ballroom dancing. It tells the story of Scott and Fran, who rebel against Dance Federation rules in order to dance their own steps. The film is the first in Baz Luhrmann's 'red curtain' film trilogy, and can also be described as a combination of the following: a , a romantic , a dance musical, even a .

This study guide is aimed at teachers who are teaching the film as a comparative text in the Leaving Certificate English syllabus. As well as sections relevant to modes of comparison such as The World of the Film, (for Cultural Context/Social Setting) and Hero, Heroine, Villain, a central feature of the study guide is our exclusive interview with director Baz Luhrmann. He discusses his artistic vision and defines red curtain cinema, the concept central to his trilogy of films Strictly Ballroom (1992), Shakespeare's Romeo & (1996) and (2001).

We are also very pleased to include an interview with Strictly Ballroom producer Tristram Miall in which he discusses his involvement in the making of Strictly Ballroom, and also provides insights into his role as a film producer in the Australian film industry. Both interviews will provide invaluable background material for both teachers and students.

Strictly Ballroom is an excellent choice for comparative study as it is accessible, fun and fast-paced, but it also has serious themes and ultimately celebrates Australia's multicultural society, a view that has strong resonance for contemporary Ireland.

I hope you will find this guide an interesting, useful and enjoyable resource in your teaching of Strictly Ballroom.

Grateful thanks to my colleagues Alicia McGivern, Grinne Humphreys and Liz Fehilly for their valuable suggestions and editorial contributions.

Ann Ryan

Schools Officer fiieducation The Film Institute of Ireland

STRICTLY BALLROOM 4 Uluru (Ayers Rock)

IMAGES OF AUSTRALIA

“You will find a warm welcome waiting for you in Australia, one of the most fascinating

and spectacular places on earth. A land of contrasts, at once a youthful, vital nation and the home of the planet’s oldest continuous culture.” 1

A SPECTACULAR DESTINATION A SUCCESSFUL MIGRANT NATION

Just as the Irish Tourist Board represents Ever since Australia was first colonised by Ireland in a certain way to attract tourists, British settlers more than two hundred the Australian Tourist Commission years ago, there have been successive promotes travel to Australia by highlighting waves of migration to its shores. The its bright, colourful aspects. Famous majority of migrants came from Britain, landmarks such as the Opera House, Ireland and Europe until after Uluru (Ayers Rock) and the Great Barrier the Second World War, when Australia Reef are featured as well as Australia’s welcomed refugees from war-torn Europe indigenous people, the aborigines. and also began to accept thousands of migrants from southern European STEREOTYPICAL IMAGES countries such as Italy and Greece. ( for instance has the largest What expectations do we have of Australia Greek population of any city in the world and its people? There are several familiar outside Greece). Australian stereotypes, including the enduring image of Aussie bushman hero Today, Australians whose ancestors hail seen in ’s . from Britain or Ireland2 still form a This is continued in recent film release majority of Australia’s population but the Crocodile Hunter: Collision Course (2002) country has also become one of the most starring TV naturalist Steve Irwin. successful migrant nations in the world, welcoming people from all corners of the A more negative stereotype is that of a globe to its shores. Notwithstanding the typical Australian male being depicted as 2002 government’s controversial stance beer-swilling, loud-mouthed and on illegal immigrants, contemporary uncultured, like Barry Humphries’ comic Australia is a diverse and vibrant creation Sir Les Patterson, ‘Australia’s multicultural society. cultural attaché.’ Characters and settings in Australian TV soaps such as Home & Away AUSTRALIAN CINEMA* and Neighbours conform to stereotypical views of Australia, such as the mistaken During the 1970s the Australian film belief that it is permanently sunny there, or industry experienced a revival of its that people are always tanned, good- fortunes. The development of a looking, athletic ‘surfie’ types. Perhaps the government-assisted film industry soaps’ appeal lies in their representation of reflected a desire to develop and nurture Australia as a sunny suburban paradise, a a national cinema. Films made during the far cry from the more downbeat settings of 1970s and since reflect Australia’s Eastenders or City. increasing cultural diversity.

STRICTLY BALLROOM 5 , Australia’s biggest ever box office success

Peter Weir is an important figure in the success. This gentle comedy is set in July 1Australian Tourist Commission Traveller’s Guide 2002, p3 Australian film renaissance. His haunting 1969 in a small rural town in New South 2Known as Anglo-Australians, or Anglo-Celtic Australians and atmospheric at Hanging Rock Wales. Australian scientists become unlikely 3Adrian Martin, More than Muriel, Sight and Sound (1975) was a success both in Australia and heroes because of the part they play in Vol. 5 No. 6 (1995) p30 – 32 (p30) internationally. Adapted from the novel broadcasting the first TV pictures of the by Joan Lindsey, the film is set in 1900 on Apollo moon landing. Valentine’s Day, when a group of schoolgirls on a picnic at Hanging Rock in Another box office success is 's Victoria disappear without trace. film Rabbit Proof Fence (2002), which explores a significant and tragic part of In the 1980s the phenomenally successful Australian history: 'The .' Crocodile Dundee (1987) relied on the From 1905 to 1970 part-Aboriginal children bushman stereotype for its comedy. In were forcibly removed from their families 3 addition to 1990s ‘kitsch comedy’ and placed in institutions. Set in the 1930s successes like Strictly Ballroom, Priscilla, and starring , the film tells Queen of the Desert (1993) and Muriel’s the story of three Aboriginal girls who (1994), other also escape from the institution they have been proved popular. The Dish (2000) emerged placed in and walk 1500 kilometres across as Australia’s biggest ever box office the continent to find their way home. Picnic at Hanging Rock

STUDENT EXPLORATIONS

1 Travel brochures promote Australia as one of the world’s most spectacular holiday destinations. What impressions of Ireland are shown in travel brochures, do you think? 2 Describe a stereotypical Australian, then a typical Irish person. In what ways are these stereotypes limiting? Where do we see such stereotypes used? 3 Do you think Australian TV soaps are realistic? What images of Australia do they present? Compare their stories, characters and settings to an Irish or UK TV soap. 4 Compare another Australian film to Strictly Ballroom. In what ways are Rabbit Proof Fence they similar/different? What © impressions of Australia do you receive Release Date Ireland: 8/11/02 in each film?

*See Filmography (Appendix F) for more details of Australian films.

STRICTLY BALLROOM 6 BAZ LUHRMANN’S VISION

ORIGINS OF STRICTLY BALLROOM company, the Six Years Old Company, it won the ’s Prix de Jeunesse. subsequently revived the play for a Strictly Ballroom also won several other Ballroom dancing is hugely popular in successful at the Wharf Theatre in awards, including eight Australian Film several countries around the world. With Sydney before touring to the World Expo Institute Awards, three British Academy its garish costumes, obsession with detail at Brisbane, Queensland in 1988. Awards and a Golden Globe nomination. and rigorous rules, it has evolved into a dance sport and has recently been FROM PLAY TO FILM VISION & PASSION introduced to the Olympics. There are clubs and societies in countries around The next phase in Strictly Ballroom’s In many ways the ‘David and Goliath’ the world devoted to the promotion of development, however, was more struggle to get the film made reflects ballroom dancing. Baz Luhrmann was challenging. Adapting the successful Scott’s struggle to dance his own steps in introduced to the world of competitive play into a film became what the filmakers the film. His creativity and vision ballroom dancing as a child growing up in describe as a “David and Goliath journey”. eventually win out despite the obstacles in Australia. His mother was a dancing Producers Tristram Miall and his way. Similarly Baz Luhrmann’s team teacher, and he took lessons, danced had approached Baz Luhrmann with a overcame what seemed to be impossible competitively and became a champion view to buying the film rights. They odds to triumph. Their vision and passion, ballroom dancer himself. agreed that he would write the script and combined with tenacity, hard work and direct the film. In 1991 Baz Luhrmann and determination helped them succeed in AT DRAMA SCHOOL Craig Pearce wrote the final screenplay for getting Strictly Ballroom made. Given the Strictly Ballroom, but the Australian Film economic circumstances in Australia at By 1985 Luhrmann was studying drama at Finance Corporation were cautious about the time, and the fact that Baz Luhrmann the prestigious National Institute of financing a first time director, producer had never directed a before, Dramatic Art1 (NIDA) in Sydney, where he and a largely unknown team. Few films this was indeed a substantial achievement. felt that its traditional teaching methods were being made in Australia in the early and strict rules were oppressive, stifling 1990s, as it was in the midst of an STUDENT EXPLORATIONS students’ creativity. Inspired by this economic recession. experience, the original premise for 1 Baz Luhrmann and the producers have Strictly Ballroom was based on overcoming SETBACKS described the experience of making oppression. Luhrmann chose the world of Strictly Ballroom into a film as a ‘David ballroom dancing because of his own Despite several setbacks, including the & Goliath’ struggle. Find out about the experiences in that world. sudden death of producer Ted Albert, the story of ‘David & Goliath’, and discuss money was eventually raised to make the how it has parallels with Scott’s story. A DEVISED PLAY film, with the Australian Film Finance 2 The theme of overcoming oppression Corporation as main investor. But there was the premise for Baz Luhrmann and The first version of Strictly Ballroom was a were other difficulties along the way, fellow NIDA students when they thirty minute devised play, created by including Paul Mercurio (Scott) injuring his devised the play version of Strictly Luhrmann and fellow students (including ankle just before the start of filming, and Ballroom. The students felt oppressed long time friend and co- Craig the Film Finance Corporation allegedly by the strict regime at their drama Pearce). Luhrmann then directed the first ‘hating’ the film after viewing a rough-cut. school. Do you have any personal ever stage production of Strictly Ballroom (See Interview with Tristram Miall). Despite experience or knowledge of such a at NIDA. The play’s success led to its all these difficulties, Strictly Ballroom regime? Give some examples. selection for the 1986 World Youth became a huge hit in Australia and 3 Discuss the different stages by which Theatre Festival in Czechoslovakia, where overseas. Made for $3.5 million Australian Strictly Ballroom became a film. What it received awards for best production and dollars, it screened at the prestigious impressions do you receive of Baz best director. Luhrmann’s theatre international film festival at Cannes, where Luhrmann and his team?

STRICTLY BALLROOM 7 “All our films use this cinema form which we call

theatricalised cinema, red

curtain cinema…” Baz Luhrmann

Moulin Rouge (2001) © Twentieth Century Fox

RED CURTAIN CINEMA Shakespearean language, and Moulin Rouge is a musical. Once the audience Baz Luhrmann describes his trilogy of accepts that they are always watching a films as examples of red curtain cinema. movie and are not seduced into believing This concept, which he defines as a that it is real, Luhrmann believes that they theatricalised, form will be able to participate actively in the set in a heightened world, is central to our viewing experience. understanding of his work. Strictly Ballroom, the first film in the was released in 1992, followed by Shakespeare’s Romeo & Juliet (1996) and finally Moulin Rouge (2001).

According to Baz Luhrmann, there are rules and conventions in red curtain cinema just as in other film .

The first rule is that the story needs to be set in a heightened creative world. Strictly Ballroom opens with a theatrical swish of red velvet curtains. The opening image leads us into the world of competitive ballroom dancing, peopled by larger-than-life characters obsessed with winning.

The second rule is that the story should Romeo & Juliet (1996) be based on a recognisable story shape. © Twentieth Century Fox In Strictly Ballroom, the David & Goliath myth can be seen quite clearly in Scott’s See (Appendix A) Interview with director struggle against the mighty Dance Baz Luhrmann for a detailed account of Federation. Similarly, the fairy tale about his artistic vision & (Appendix B) Interview the ugly duckling being transformed into with producer Tristram Miall for details of a swan is mirrored in the character of Fran. his involvement in Strictly Ballroom.

Thirdly, and finally, red curtain cinema is also audience participation cinema. For Luhrmann, the audience needs to be aware that what they are watching is not meant to be real. Unlike other films which give the illusion of reality, red curtain films use ‘devices’ to keep the audience aware that the film is heightened and stylised. In Strictly Ballroom the central device is dancing; in Romeo & Juliet it is DISCUSSION from his review of Moulin Rouge reveals: films like Top Hat (1935), the all-powerful “The director clearly exults in the thrilling Dance Federation is represented as the Luhrmann is influenced by radical theatre theatricality of the , which he enemy in Strictly Ballroom. practitioner Bertolt Brecht, who was communicates so infectiously to the ‘’ interviews in the opening interested in creating ‘active spectators’ in audience in this exuberant, intoxicating sequence provide another example of the theatre audiences. To achieve this he spectacle, a blissfully romantic paean to film’s parodying of conventions. employed distancing techniques to ensure the power of love.”3 that the spectator stands outside the STUDENT EXPLORATIONS experience.2 Brecht’s aim was to keep the There is no doubt that Baz Luhrmann’s red audience intellectually involved, but curtain films offer audiences larger-than- 1 Define ‘red curtain cinema’ in your emotionally detached. Baz Luhrmann life fantastical created worlds, stunning own words. wants the audience to be active visual spectacle and stories based on 2 We are used to seeing films at the participants, aware that they are watching recognisable myths. But perhaps the cinema that are set in the ‘real world’. a film. He describes red curtain cinema as audience participation element of red Give some examples of films like this. being like ‘Brecht with heart’ because he curtain cinema works more convincingly How do Baz Luhrmann’s films differ? also welcomes their emotional in Strictly Ballroom and Romeo & Juliet Do you prefer films that have a realistic involvement. than in Moulin Rouge because in the final setting/storyline or films that are film of the trilogy the pace is just too obviously set in a heightened, fantasy So does red curtain cinema work, and frenetic and rushed. Those who love world? are we convinced by it as a new watching MTV may disagree, but in my 3 What do you think of Baz Luhrmann’s cinema form? The world created in Strictly view the audience simply does not have concept of red curtain cinema? Does it Ballroom is indeed larger-than-life, time to absorb the myriad images, work, in your opinion? (Consider flamboyant and stylised. And in sounds, sweeping camera angles and Luhrmann’s other films, Romeo & Juliet Shakespeare’s Romeo & Juliet and Moulin special effects. Far from encouraging our and Moulin Rouge as well as Strictly Rouge Luhrmann continues the concept of emotional involvement with the characters Ballroom in your response). red curtain cinema in ever more and storyline, these distancing techniques 4 Strictly Ballroom also draws from other fantastical ways. The Verona in in fact have the opposite effect. traditions in film and theatre. Give Shakespeare’s Romeo & Juliet is hot, sexy examples of key moments from the film and violent, a created world comprising of A COMBINATION OF GENRES that illustrate its combination of genres twentieth century icons. Moulin Rouge, (eg. ‘mockumentary’, fairy tale, dance the final film in the red curtain trilogy, is Baz Luhrmann defines Strictly Ballroom as musical). an extraordinary musical love story, set in red curtain cinema, but it also draws from a computer-generated Paris of 1899, several traditions in film and theatre: featuring music from artists as diverse as elements of ; 1 The National Institute of Dramatic Art (NIDA) is Randy Crawford and Nirvana. commedia dell’arte; even ‘mockumentary’. one of Australia’s best-known drama schools. Luhrmann’s red curtain films have been It can be described as a combination of Graduates include , and box office successes and are hugely the following genres: a , . popular with audiences. This is clear a fairy tale, a dance musical, a satire, and 2 The concept of ‘verfremdungseffekt’, translated evidence that many people enjoy the finally an example of ‘kitsch comedy.’ Baz loosely in English as distance alienation or the ‘A’ experience of watching his films, and are Luhrmann uses these conventions in effect, is used in Brecht’s epic theatre to remind the willing, either consciously or Strictly Ballroom, but he also parodies audience that they are watching a play. (A-effects unconsciously, to accept the conventions them. The film self-consciously subverts include a presentational style of acting, use of of red curtain cinema. Film critic Michael our expectations of the , narration, mask, song, and actors playing a variety Dwyer is an enthusiastic admirer of Baz so that far from being a celebration of the of roles). Luhrmann’s work, as the following extract show business dance community as in 3 Dwyer M., The Irish Times, 5 September 2001

STRICTLSTRICTLYYBBALLROOMALLROOM 79 THE WORLD OF THE FILM

As we have seen in the discussion on red curtain cinema, one of its conventions is that

the story takes place in a heightened, fantastical world. There are two contrasting worlds in Strictly Ballroom. Both are located physically in the suburbs of Sydney, but they are

distinct and separate, reflecting the film’s collision of wills and cultures.

THE BALLROOM DANCING WORLD Scott: I’m just asking you what you think of the steps. The first world we enter is the Liz: I don’t think. I don’t give a shit about competitive world of ballroom dancing. them. We lost. (New Partners: Sequence 2) Locations in this world are always interior. It is represented as being fiercely FRAN’S WORLD conservative, with rigid rules that must be obeyed. Characters are Anglo-Australian The second world is the Toledo Milk Bar, comic stereotypes, whose costumes are where Fran’s Spanish family lives. As recent garish and glitzy. They wear heavy make migrants to Australia they are shown as up, have elaborate, cartoon-like hairdos, living on the fringes of mainstream society, and are overly concerned with outward literally beside the railway tracks. Providing appearances. Obsessed with winning a stark contrast to the artificiality of the ballroom dancing competitions, they are ballroom dancing world, their world is unable to talk about anything else. They shown as more real. The exterior location have created an insular, claustrophobic suggests space and freedom. Characters are world where outsiders are not welcome portrayed as more passionate and authentic and innovation is seen as a threat. than the winning-obsessed Anglo- Australians because they dance from the The heightened and stylised ballroom heart rather than from a desire to win dancing world satirises aspects of competitions. Baz Luhrmann explains: Australian society. It serves as a metaphor for a particular Anglo-Australian attitude, “The Anglo world took the Paso Doble, shown here as hierarchical and which is a dance of expression, and put a conservative. The Dance Federation’s whole lot of rules on it, and made it about obsession with rules and conformity winning. Whereas in Fran’s family, dancing is could also be said to represent a fear of a tradition, it comes from life, it is an change in a part of Australian society that expression of life.” discourages spontaneity and creativity. The film tries to capture the original passion Scott’s crowd-pleasing steps are seen as inherent in dance before it became pointless compared to the obsession with restrained and stifled. When Ya Ya winning competitions. After Scott and Liz encourages Scott to “listen to the rhythm” lose the Waratah Championships Liz is (Paso Doble: Sequence 5), the film furious. Scott tries to persuade her to suggests that expression in dance should be listen to his ideas but she is only lived and enjoyed, rather than made into a interested in winning: competitive sport.

STRICTLY BALLROOM 10 FAMILY ultimate patriarchal, authoritarian figure, forced me into it - where the man goes treats women as decorative objects. His the lady must follow - I had no choice.” Although they appear conventional scenes with ‘loyal companion’ Charm (Waratah Championships: Sequence 1) enough, with a mother, father and two Leachman (No New Steps: Sequence 6) Liz’s words are ironic, especially when we children, the Anglo-Australian Hastings and when he demonstrates the Bogo consider that she is the one who refuses family is shown as dysfunctional. The film Pogo dance step to Wayne and Vanessa to dance with Scott after he dances his subverts our expectations of the ‘average’ (The Pan-Pacifics: Sequence 7) reveal his own steps, and throws a temper tantrum family. Shirley, like the other characters sleazy side. when she does not get her own way from the ballroom dancing world is one- (New Partners: Sequence 2). Similarly, dimensional. She is depicted as a But elsewhere there are men who do not Shirley bursts into tears at the dance stereotypical domineering wife, have such authority. The ‘camp’ studio when the efforts to get Scott and browbeating mild-mannered husband representation of Les Kendall throughout Liz back together fail. Doug. She is also a stage mother who the film indicates that he is homosexual. lives vicariously through her children’s The fact that he is different, the film Their portrayal is in marked contrast to successes. Shirley is ambitious for her son suggests, has not been to his advantage. the way Fran is depicted. Shown very Scott to win the Pan Pacific Dance Barry Fife calls him “a pathetic fag,” at much as a fairy tale heroine, Fran is Championships, but only if he dances the the Pan-Pacifics (Sequence 8) when Les shown more positively. Her shyness and Federation way. discovers the truth about the 1967 lack of self-confidence give way to her Championships. blossoming courage and independence. Fran’s Spanish family is portrayed more Her natural appearance contrasts with sympathetically, but also somewhat Doug Hastings is also different. Far from the heavily made-up ballroom dancers, stereotypically. Like Cinderella, her real being the conventional male head of the again reinforcing the idea that Fran is mother has died. Her father Rico is shown family, he is bullied by his wife Shirley and genuine and has more depth than the as swarthy, unshaven and ultra-strict. seems to have no authority at home. superficial female characters of the Fran’s body language and actions suggest Whenever he tries to talk to Scott he is ballroom dancing world. that she is afraid of him and when we first ignored, until the Pan-Pacifics (Sequence meet Rico after Scott walks Fran home 7) when he is finally able to make Children (Sequence 3) his words to Fran are harsh. Scott listen. There are two children in the film, Kylie, Fran’s grandmother Ya Ya, dressed in black Scott’s younger sister, and Luke, her dance with a crucifix around her neck, grey hair Doug’s role as father is in marked contrast partner. Both are aged ten, and are tied back in a bun at first looks like a to the way Rico is depicted. As a strict, dressed as miniature ballroom dancers, stereotypical ‘ethnic’ grandmother, but her authoritarian father, he is also portrayed complete with elaborate costumes and appearance is deceptive. She is in fact as strong and masculine, his dance hairdos. Their function is to comment Fran’s ally, covering for her when she goes prowess seen as a macho attribute. He honestly and insightfully on the action, out, and revealing a playful sense of becomes a mentor, even a father figure to and they also provide comic asides, for at Scott’s expense during the Scott when he teaches him about the real example when Kylie says: “It’s the Paso Doble scene (Sequence 5) when meaning of dance. (Practising for the inconceivable sight of Scott dancing with she speaks in Spanish about Scott’s Pan-Pacifics: Sequence 6). Fran,” as she watches them dance “nice body”. backstage at the State Championships Women (Sequence 4). Kylie and Luke also act ROLES OF MEN, WOMEN, CHILDREN The film satirises Anglo-Australian women during the Pan-Pacifics (Sequence 8) to by depicting them as hysterical, bitchy and help Fran and Scott. Realising that Barry Men manipulative. The following melodramatic Fife plans to cut the music, they lock In the ballroom dancing world, the men comments by Liz Holt suggest that men themselves into the sound booth so that appear to be in control. Barry Fife, the lead, at least on the dancefloor: “He his plans are thwarted. Their heroic

STRICTLY BALLROOM 11 actions at the end and the way they cheer European migrants started arriving in for Scott and Fran suggest that they Australia. It is clear that Fran’s family is not represent a brighter future for dance. as financially well off as the Anglo- Australians. But the fiesta that takes place WORK at the back of the house (Paso Doble: Sequence 5) conveys that there is life and Although dancing is an amateur pastime soul here. for most of the characters in the ballroom dancing world, they are so obsessed that POWER it dominates their lives. For some of the characters, ballroom dancing also The Anglo-Australian characters are those provides their livelihoods. Les Kendall and who are depicted as having power in the Shirley run Kendall’s Dance Studio film. But Barry Fife’s power is represented together. Shirley’s explanation of why she as hierarchical and corrupt. During the dumped Doug at the Pan-Pacifics in 1967 Waratah Championships (Sequence 1) the reveals her fear of insecurity. It also Dance Federation judging panel is framed suggests that in this world people feel with a low angle shot, showing Barry and they have to sacrifice their dreams to his fellow officials placed on a stage above obtain job security: the audience, reflecting their superior status. Barry is willing to fix the Pan-Pacific “There was too much at stake. Our dancing Grand Prix Dance Championships, so that career was on the line. I couldn’t throw all Scott doesn’t win, as his words to a drunk that away on a dream. We had to survive. Ken Railings reveal: We would never have been able to teach.” (The Pan-Pacifics: Sequence 7) “Your year, Ken. Just get on the floor, go through the motions and it’s in the bag.” Barry Fife displays quite a different (Scott & Fran’s Big Moment: attitude to work. He uses his position as Sequence 8) Federation President to further his own business interests, notably the way he Throughout the film, his unscrupulous places his video, Dance to Win, on display methods reveal that he is willing to do at every opportunity, and gives a copy to anything to hang onto power. He is Wayne as a sweetener to get him on his portrayed much like a corrupt politician side against Scott (The State or businessman who will do favours for Championships: Sequence 4). certain people in order to gain personal advantages. By contrast, Fran’s family business is the Toledo Milk Bar. Business does not seem In contrast, Fran’s family, who live on the to be booming, as the milk bar looks edges of society, are depicted as less shabby and rundown. Its paintwork is powerful because they are not part of the dingy and worn and there are bins full of established, dominant Anglo-Australian rubbish in front. In some ways the Toledo culture. However, their sympathetic Milk Bar suggests an earlier era, the portrayal in the film suggests that despite 1950s, when such places were first their marginal status, they are culturally popular, and also when southern richer than their Anglo counterparts. CLASS others. (The Try-Outs: Sequence 3). It is STUDENT EXPLORATIONS as if Fran’s ethnicity marks her as different, Although the film shows two cultures in and is considered a drawback to her 1 Baz Luhrmann’s describes the world of opposition, it is more difficult to position integration and acceptance into the Strictly Ballroom as ‘heightened and them in terms of class. The Anglo- Anglo-Australian world. At the Pan-Pacifics fantastical’. How does the film language Australians can be described as white Fran tells Scott how difficult it has been used illustrate this? See Appendix E: working-class or lower middle-class. They for her: Film Language. (Comment on have more money and status in society costume, lighting, characters, than the characters in the Spanish world, “Frangipannidelasqueegymop. Wash the camerawork, colour, music in each of which places them in a higher position. coffee cups Fran. How’s your skin Fran?” the contrasting settings). Yet their values and attitudes are satirised (At the Pan-Pacifics: Sequence 7). 2 How does the film depict the Anglo in the film, so that the Anglo-Australian Australian characters? How does this world is presented as tacky and artificial, When Scott is introduced to the Spanish compare with the film’s portrayal of lacking depth. The Spanish characters, world, he is at first treated with suspicion Fran’s Spanish family? Who is portrayed living on the margins of an urban society by Rico (Paso Doble: Sequence 5). At first more sympathetically, do you think? can also be described as working-class. characters speak in Spanish in front of 3 Many of the characters in Strictly However, their values are celebrated in the Scott, often at his expense, and as a way Ballroom are cartoon-like and one film, placing them above the of excluding him from their conversation. dimensional. What advantages are Anglo-Australians. For the first time Scott experiences what it there in creating characters that are is like to be an outsider. But after initial stereotypes? Can you see any RACE suspicion he is accepted. Scott is willing to disadvantages? learn from Rico and Ya Ya, and realises 4 “No new steps!” Why do you think In the film the Anglo-Australian world is that the experience is enriching. It is some of the characters were so shown as dominant, and ‘normal’, with interesting that as Rico and Ya Ya help frightened of new dance steps? Discuss Fran’s Spanish world represented as the Scott and Fran practice for the Pan-Pacifics the relevant characters/key moments. ethnic ‘other’. This could be said to mirror (Sequence 6) they begin to speak both Do you sympathise with any of them? the migrant experience in Australia, where Spanish and English, indicating their Why/why not? Anglo-Australians form a majority of the growing acceptance of him and their 5 Do you agree with Baz Luhrmann that population and have lived there longer openness to the Anglo world. dance should be ‘an expression of life’ than more recent arrivals. Fran’s rather than a competitive sport? Do you experience at Kendall’s Dance Studio The film’s triumphant , which shows have any personal experience of reflects this marginal status. She is known the two cultures uniting on the dance dancing competitively? (Irish dancing, as ‘just Fran’ rather than by her full name floor, offers a celebration of Australia’s for example) What is your opinion on Francisca. She is reluctant to say her multicultural society. As characters from such competitions? Spanish name because it reinforces her the ballroom dancing world and Fran’s 6 How does the world of Strictly Ballroom outsider status, making her a potential Spanish world dance together, Rico with differ from the cultural contexts/social target for name-calling by Liz and Liz Holt, Ya Ya with Les, the film offers an settings of other comparative texts you Vanessa. Fran’s appearance is also optimistic ending. From being two have studied? Are there any similarities? different. Her dark hair and natural skin separate, distinct cultures, the finale provide a contrast to the artificial glamour ensures that they intermingle, each of the other ballroom dancers. Shirley, in enriched by the other. Only Barry Fife her role as cosmetician, is always seems not to fit into this new, inclusive encouraging Fran to use apricot scrub or world, suggesting that he really does Buf Puf to improve her skin, and tries belong to a bygone era. making her up so that she looks like the

STRICTLY BALLROOM 13 HERO, HEROINE, VILLAIN

Mainstream Hollywood cinema draws from principles and structures established in Greek

mythology. Stories are driven by the struggle between a central hero and another, usually darker force. The conventional cinematic hero is strong and virile, who proves himself by

overcoming obstacles set out for him by the narrative. The hero always achieves his goal and wins the love of a woman through combat or physical confrontation with another male.

HERO a desire to win marks him as Scott is the central character in the film. unconventional. He is also put under Positioned as the hero, he is a passionate, pressure to conform at different times ambitious ballroom dancer who also wants during the film from Shirley, Les and Barry to dance his own steps. Scott has to balance Fife, and he gives into the pressure more his desire to win with a need for than once. The hero’s qualities of physical individuality and creativity. As he progresses strength and virility are shown through through the film, he overcomes pressures ballroom dancing, an activity not normally and obstacles in his way and finds the associated with macho cinematic heroes. courage to dance his own steps with Fran at the Pan-Pacifics. Scott’s Journey Scott also has to change his own attitudes How film language* positions Scott to fully understand the true meaning of as the Hero dance. There are several key moments in We know that Scott is the hero because he the film that illustrate Scott’s emotional is central to the plot. The action he takes at journey: the Waratah Championships when he dances his own steps is the catalyst for the New Partners (Sequence 2) story. But the way the story is told through Fran approaches Scott film language also shows us that he is the When Fran asks to try out as Scott’s new hero. The camera frames Scott in particular partner, he is dismissive of her ability: ways to emphasise this. The following elements in camerawork illustrate how a Scott: You’ve come up to me who’s been film can position the hero: dancing since I was six years old... and you want to dance non-Federation, and • Framing of shots – the camera stays convince the judges at the Pan-Pacific with the character as much as possible Grand Prix with 3 weeks to train? • Close-ups of the character’s face reveal Fran: Yeah. how the character is feeling Scott: I don’t think so. • Point-of-view shots make the audience see things from his perspective Scott only listens to Fran after she loses her temper and tells him he’s a “gutless An Untypical Hero? wonder” for not having the courage Scott is an untypical cinematic hero. His to give her a chance. Even after Scott *See also Appendix E: Film Language interest in artistic self-expression more than accepts Fran as his new partner, he holds

STRICTLY BALLROOM 14 onto the attitudes and beliefs of the one last look at Liz, Shirley and the other An Untypical Heroine? ballroom dancing world. As they dance the competitors before jumping offstage to But if Fran fulfils many of the rumba, he instructs Fran to “look at me like find Fran. requirements of a fairy tale heroine, she is you’re in love,” emphasising the artificiality also untypical. Although Fran appears to of the ballroom dancing style. STUDENT EXPLORATIONS be a passive and shy individual at the beginning, at important moments she State Championships (Sequence 4) Scott 1 What are the qualities of a typical shows determination and defiance. But and Fran dance together backstage Hollywood hero? she also falters under pressure at times, Scott is caught between wanting to win the 2 Give examples of 2 other films in which particularly when faced with Scott’s competition and his desire to dance new the central character can be described indecision, or when bullied by Shirley steps with Fran. The opportunity to dance as heroic, and give reasons for your Hastings. with Tina Sparkle is tempting, and he is choices. hesitant when Fran asks him directly what 3 How does the film position Scott as the Fran’s Journey he intends to do: hero? Unlike the journey Scott makes to change 4 Give examples of key moments that his attitude towards dance, Fran already Fran: Are you going to dance with Tina? show Scott as the hero, and explain knows that she wants to dance ‘from the Scott: I... she’s a champion. how film language conveys this to the heart’. The Spanish proverb, ‘Vivir con audience. miedo, es como vivir a medias/A life lived But as Fran watches Tina Sparkle and in fear is a life half-lived’ is one of the Nathan perform, Scott follows her gaze. HEROINE main messages of the film, and is closely The close-up shot of his reaction indicates associated with Fran. Her journey is about that he is beginning to realise what he Fran overcoming her fear so that she can reach wants to do. As he dances with Fran Fran is positioned as the heroine in the her potential and live life to the full. backstage the lyrics to the song ‘Perhaps’ – film. Like Scott, she is a complex character “If you can’t make your mind up, we’ll who has to overcome obstacles to achieve There are several key moments that never get started,” fit the scene perfectly. her goals. In many ways she fulfils the illustrate Fran’s journey: requirements of a fairy tale heroine, with Paso Doble (Sequence 5) Rico and Ya Ya clear similarities between her character New Partners (Sequence 2) Fran dance the Paso Doble and Cinderella or The Ugly Duckling. At approaches Scott Rico and Ya Ya, having laughed at Scott and first she is portrayed as a shy, awkward Fran’s angry response to Scott when he Fran’s ballroom dancing version of the Paso beginner dancer. Wearing glasses, no rejects her shows her strength of feeling: Doble, teach Scott their way. As Ya Ya make-up and a baggy T-shirt, her encourages him to “listen to the rhythm,” plainness provides a contrast to the glitz “You’re just like the rest of them. You think Scott is transformed by the experience and and glamour of the other ballroom you’re different but you’re not because learns that dancing from the heart makes it dancers. you’re just really scared, you’re really more meaningful and real. scared to give someone new a go because The film shows Fran’s journey towards you think, you know, they might just be The Pan-Pacific Grand Prix Dance confidence and fulfilment through the better than you are. Well, you’re just Championship (Sequence 7) Doug changes in her costume and appearance. pathetic and you’re gutless. You’re a reveals the truth From the opening sequence which gutless wonder. Vivir con miedo, es como When Doug catches up with Scott and tells features a close-up shot of an ordinary vivir a medias!” him the truth about the 1967 looking Fran speaking to camera about Championships, Scott realises that he can Scott and Liz’s ‘wonderful steps’, she Fran is then positioned in the centre of dance with Fran at last. The film moves into undergoes a transformation, blossoming the frame, standing in the spotlight, just slow motion as he spins around to have into a beautiful, confident dancer. as Scott had been earlier. This indicates

STRICTLY BALLROOM 15 that she too wants to dance her own go home rather than spoil Scott’s chances. steps, and suggests that she and Scott The use of low angle close-ups of Shirley, are more closely linked than we have Vanessa and Liz, seen from Fran’s point of previously realised. view, represent them as villains and Fran as a victim of bullying. The Try-Outs (Sequence 3) This montage sequence shows several Practising for the Pan-Pacifics aspects of the story that happen over (Sequence 6) the same period of time. Scott’s try-outs Fran and Scott practice for the Pan-Pacifics with prospective new partners are with the guidance and support of Rico juxtaposed with Scott and Fran continuing and Ya Ya. When Fran dances complicated to practice together. The camera also cuts steps with confidence and poise during a to dates being crossed off the calendar, practice with her father, the reaction shot indicating that time has passed, and the of Rico shows his surprise and pride. It is soundtrack, appropriately, is the song as if he is seeing his daughter in a new Time After Time. light. Like Ya Ya, he accepts that Fran has overcome her shyness and is ready to The montage also shows how Fran’s dance at the Pan-Pacifics. transformation is taking place. Gradually her appearance begins to change, her hair STUDENT EXPLORATIONS becomes darker and more attractive and she wears skirts rather than leggings. The 1 Fran can be described as being like a use of colour is also significant, and by fairytale heroine. Choose 3 key the end of the sequence she is shown moments from the film that show wearing stronger colours (black and red), parallels between Fran and a fairytale reflecting her growing confidence. heroine. 2 How does the film reveal Fran’s The State Championships (Sequence 4) transformation? Give some examples of Fran and Scott dance together key moments where Fran’s image backstage changes, referring to costume, facial After the revelation that Tina is to be expression, movement, camerawork etc. Scott’s new partner, Fran retreats Is the transformation more than just her backstage where Scott finds her. But the appearance, do you think? spell is broken when Liz Holt scathingly comments: “You’re kidding!” when she VILLAIN sees Fran and Scott dancing together. Fran becomes self-conscious again, and falls Barry Fife over, injuring her ankle. There is one obvious villain in the film - Barry Fife, President of the Australian Shirley, Liz and Vanessa persuade Fran Dance Federation. Symbolising a bygone to go home patriarchal, authoritarian era Barry is This scene in the dressing room is portrayed as being shifty and corrupt. Like reminiscent of Cinderella, when Shirley many of the characters in the ballroom (like the wicked stepmother), Vanessa and dancing world, Barry is depicted as a Liz (as the ugly sisters) persuade Fran to cartoon-like stereotype. He is often filmed

STRICTLY BALLROOM 16 in low angle close-ups, which make his speech about heroes to Les, which is both table and is shown on the floor looking face look grotesque, and his shiny blue comic and satirical, bearing similarities to dishevelled and defeated. The high angle , red face and false hairpiece convey the kind of speeches we are accustomed camera shot used here makes him appear to the audience that he is not to be to hearing from certain politicians: vulnerable for the first time. To symbolise trusted. Barry’s fear of change, combined Barry’s sudden and dramatic fall from with his desperation to remain the all- “Let’s not forget, Les, that a Pan-Pacific power, his hairpiece has fallen off and the powerful President by ruthless and Champion becomes a hero, a guiding light trophies are scattered around him. corrupt means, results in his loss of power to all dancers. Someone who’ll set the and authority at the end of the film. right example... I love dancing, Les, and I STUDENT EXPLORATIONS Barry fulfils the role of a typical cinematic won’t let what we’ve fought for all these villain, being the darker force that tries to years be destroyed.” 1 How does the film communicate that prevent Scott from dancing his own steps. Barry Fife is a villain? Comment on the Despite his villainous ways, he is also The film then cuts to an obviously drunk film language used and refer to selected responsible for many of the film’s funniest Ken Railings dancing with Liz, providing key moments in your response. moments, particularly when he confuses an ironic comment on what exactly Barry 2 Is Barry Fife more than just a villain? Are proverbs and sayings like: ‘Let’s not chuck Fife has fought for all these years. there any reasons why we might feel the baby out with the bathtub,’ and ‘One sympathy for him in the film? bad egg can rot the whole barrel.’ Several Practising for the Pan-Pacifics key moments reveal Barry Fife as a villain: (Sequence 6) Barry’s version of Doug’s ADDITIONAL EXPLORATIONS downfall Waratah Championships (Sequence 1) When Barry tells Scott that Doug’s crazy 1 The final sequence at the Pan-Pacifics Barry’s office steps lost the 1967 Pan-Pacifics for Shirley reveals acts of heroism by other Barry is sitting in his office behind his and Doug, the audience does not yet characters in the film. Name the desk, a position that emphasises his know the truth. Barry’s fake version of characters involved, and describe the authority. Speaking directly to camera, events is conveyed to us through a actions they take that might be Barry’s statement hints strongly that he is flashback sequence, which he narrates. considered heroic. more than an impartial judge at the dance The past is depicted as a drama, a play- 2 From your study of Strictly Ballroom as competition: within-a-play in which Barry, naturally is well as other comparative texts, represented positively. His version of the compare the heroic qualities of each of “You can dance any steps you like, but past is designed to create a rosy nostalgia, the main protagonists. In what ways are that doesn’t mean you’ll... win.” but his words sound unconvincing they similar/different? and false: The film language used during this scene conveys Barry’s untrustworthy nature. The “I was your dad’s best mate in those days, lighting is shadowy and the camera zooms we used to scruff it together... Lessie’d in to a close-up of his mouth when he come along of course. The three of us says the word “win,” which echoes together, the old gang. We were a bunch ominously. of old funsters.”

State Championships (Sequence 4) The Pan-Pacific Grand Prix Dance Barry talks to Les Championships (Sequence 7) Barry falls Barry’s motives become clearer as he tells and knocks over the trophies Les that he wants Scott to dance with Tina After Barry’s schemes have been foiled, Sparkle. To the tune of Danny Boy in the one of the last images we see of him is background, Barry makes a sentimental when he literally topples over the trophy

STRICTLY BALLROOM 17 APPENDIX A BAZ LUHRMANN INTERVIEW

FII: When did you first see cinematic overcoming seemingly impossible odds, on the . But beyond that, possibilities for Strictly Ballroom? and it’s finally about the fact that the because it is David and Goliath, and BL: Well, what happened was I did it as a young David with the belief, comes up because there was an election campaign at play and then I met this producer and he with the solution... No one wanted to the time about republicanism it had said, look I’d like to buy the rights, and I finance the film, I was a first-time director, political implications too. The all-powerful said, well I’d like to make a film of it and you know what I mean, there were lots of Federation, they have a very particular they agreed to let me do the film. But I no’s. I went to Cannes the year before and Australian attitude, which is an old guy always thought it would be a film and I doors were slammed in my face. Not going, “There’s only one way to cha cha cha always thought it would be a musical as twelve months later the same people that mate, and you’ve got to do it that way or well. I mean all our films we make have had said, “What a waste of time...” were else.” It started to smash away at that. this cinema form which we call like crying with tears going, “Remember FII: What films have influenced you? I theatricalised cinema, red curtain cinema - me?” mean you’ve mentioned Top Hat. Are Strictly Ballroom, and FII: That must’ve been a good feeling. there any other films that influenced you Moulin Rouge. Strictly Ballroom is very BL: Yeah well, revenge can taste sweet but during the making of Strictly Ballroom? curious, and this students may find the thing about a triumphant experience BL: It’s quite interesting. As a kid I loved interesting in that it began a journey... The is that it leaves you, well it left me with a musicals. When I was at drama school thing is though, when I set out to write it feeling of largesse. I didn’t exactly put my which is where the play came from, I was the producers wanted me to work with a arms round them and say “It is alright, I really in my serious artist phase, directing legitimate screenplay writer, and I did but forgive you,” but some people did ask me Strindberg and things like that, but I love our first step there was naturalising it, we for forgiveness, it was quite extraordinary. for example Taxi Driver, , were making it a natural cinematic form. The guy that was exhibiting Strictly The Seventh Seal… The problem with that was it became like Ballroom, when he saw the first cut of it in FII: Very different films. Dirty Dancing, which is not to denigrate Australia, he took our two screens away BL: Completely different. But specifically it that film but you lost the metaphorical and said, “This is horrible, it’s like a filmed wasn’t about love to make a movie. power, it just became a film about play.” Pat Thomson, who went on to win Specifically it was about a need to express dancing. So I then had to wrest the the AFI award for best actress, he said an idea, a need to express throwing off process back, confront the reality that the we’d ruined her career. Well, you know oppression and utilising what was around best person to write with was my best that “horrible” film saved the major you to do that. I would pass on this to friend who understood what I had been cinema chain that year. So I guess film and students to be aware that the only thing doing, and we then began the first steps creativity is a place where no one knows they have to offer is that which is theirs in what we might call this theatricalised anything and anything can happen, but alone. Its not that the stories change, cinematic form. We then had to look back it’s also a great place to set the they’re not that original, it’s the way the to the movies of the 1940s and 1950s, triumphant myth because quite often, you stories are told that gives them their musicals, because they were metaphorical, know, impossible stories come true. particular brand or their particular voice. they were heightened creative films. FII: What was the cultural impact of And what they should be looking for is not, FII: Which ones? Can you give any Strictly Ballroom when it was released “Gee, it’s almost as good as Scorsese.” It examples? in Australia back in 1992? should be “It’s very particular to me.” And if BL: Well if you take Top Hat for example, BL: In Australia at the time, it also aligned you’re doing it well enough, people should there is no question there is no social or itself with a struggle for self-definition. be able to hear your particular voice. economic reality to Venice in Top Hat. It’s The fact that we could take our urban, FII: Going back to red curtain cinema, a heightened fantastical world. And the suburban culture and we could be ironic you’ve talked about it as audience audience has to participate in the about it and enjoy in it, laugh at it, see it participation cinema. Can you explain cinematic form, they can’t be passive, they as an art form, kitsch and camp and twist what you mean by that? have got to accept the conventions and it, really struck a profound chord. And it BL: Basically and very simply, audience notions that are going on. So with that at also set free a lot of other creatives to go participation cinema is the antithesis of play we were able to combine this idea of down that same road. natural cinema. Natural cinema is where a metaphor that had meaning to us in a FII: Do you think it had an influence on you’re seduced into believing through a cinematic form. So it was both old and subsequent Australian films then? whole lot of devices and tricks that you’re new in its form and we progressively BL: Pretty much no question about that. I watching a real life story… In the old movies developed that further and further with mean some of them have gone further of the Forties and Fifties or in the musical Romeo and Juliet and Moulin Rouge. and are more sophisticated. I mean form of cinema, or in a film like you know FII: Going back to the David and Muriel’s Wedding and Priscilla and that Les Amants du Paradis, or in Indian cinema, Goliath myth that inspired Strictly kind of suburban celebration cinema if say Cinema, there’s no question Ballroom, this is also reflected in your you like. I mean, it’s impossible to have that you’re always watching a movie. The struggle to get funding for the film, made a film that was made for a couple of film itself continues to remind you that. isn’t it? million dollars that made $80 million Once you agree that you’re always watching BL: That’s true. It was a David and Goliath worldwide, and won British Academy a movie, you’re happy to accept one journey to get it. Well that myth is about Awards and for that not to have an impact moment of very like stand up

STRICTLY BALLROOM 18 comedy, then – brother kills secretly sort of reveals it, whereas basically biggest Greek city in the world. Some of brother – then break out into song. It you know what the plot is at the our greatest strengths come from that, allows you to celebrate the use of devices. beginning of the movie, you know the there’s no question. Apart from the fact FII: So it’s quite Brechtian really... girl’s gonna get with the boy and they’re that you can get a great coffee in Sydney BL: It’s very Brechtian. I like to think of it gonna win, but you go, how are they you know, we’re recognising that as ‘Brecht with heart’, kind of warm Brecht going to do it? It’s the resonance of the multicultural input is a great strength, or ‘Disco Brecht’. I think the thing about way you tell it that becomes the kind of and I absolutely believe that. We have Disco Brecht is that it’s about participating factor. to increase our population by allowing participating. You can’t be passive. Its not FII: You’ve talked about the heightened others to come. Absolutely, it’s a strength, to denigrate naturalistic film, I mean I love creative world of ballroom dancing in you know, it’s a strength. for example, Traffic, it’s a great naturalistic Strictly Ballroom, which is quite FII: Thanks very much indeed for film. It’s a lot of devices though – like artificial, always interior, whereas Fran’s your time. shaky cam, to give the impression that world is exterior. Can you talk about BL: Not at all. you’re watching reportage about the drug that and the reasons for these choices? problem. Now it’s not real. What we do is BL: Well they’re all thematic questions, STUDENT EXPLORATIONS reverse that and say that it’s always a again they’re devices. Let’s take your movie, very Brechtian as you say, and you earlier statement, you’re quite right, you 1 Baz Luhrmann describes the making of must participate. So it’s not about quietly come into the world and it’s Strictly Ballroom as a 'David & Goliath sneaking up on you, it’s about going claustrophobic, very artificial, I mean their journey.' How is the theme of bang! wake up wake up, get involved… world is halls and funny . When 'overcoming impossible odds' reflected And that form, it has some rules: Scott and Fran first dance together... the in the filmmakers' struggle to make moment she takes off her glasses we’re Strictly Ballroom? 1 It tends to be based on a recognisable suddenly shooting exterior, we’re on a 2 The world of Strictly Ballroom is set story shape. We looked to Greek myth rooftop and the classic transformation firmly within Australia's 'urban, for this. In the case of Strictly Ballroom moment, and they’re dancing in front of a suburban culture,' which the film it’s David and Goliath, in Moulin Rouge Coke sign, and we’re wide, we’re outside manages to send up as well as it’s the Orphean myth. in the real world. So it makes the film celebrate. Give examples of how Strictly breathe a little more... So that what Fran Ballroom achieves this, referring to the 2 It’s set in a heightened creative world, a represents, what Fran brings to it is related film's cultural context/social setting. world that you might think is funny and to exteriors, wide shots, whereas the How did Strictly Ballroom influence exotic like ballroom dancing but you oppressive world is very artificial, subsequent Australian films in the kind of understand if it’s a football club, controlled and enclosed. 1990s, according to Baz Luhrmann? or it’s a political world that’s universal. FII: In the film the Anglo world is 3 What was Baz Luhrmann's original The president of the football club or depicted as the oppressive world, but motivation for making Strictly Ballroom? President of the and the the Spanish world is shown as natural What does he suggest to students who President of the Dance Federation all and passionate... are interested in making films have the same vernacular, which is you BL: Well, yes and no. (Fran’s) Dad is a bit themselves? What do you think of his know, “we’ve got a rebel out there oppressive too, but you’re quite right. advice? who’s speaking freedom through steps What we’re saying here is the Anglo world 4 Describe the three main rules/ – we’ve gotta crush him!” took the Paso Doble, which is a dance of conventions of red curtain cinema. expression, and put a whole lot of rules on What does Baz Luhrmann think are the 3 And thirdly and finally, I guess the best it, and made it about winning. So the main differences between what he calls comparison is a sporting match. You go focus of it is to win a gold cup. Ultimately 'natural cinema' and red curtain films? to watch soccer, you know the rules of it has an economic tag to it, really. To win Give some examples of films from both he game, but you’re nudging and the cup you buy the lessons, you pay, take categories. Which do you prefer winking at everyone and going yay! if the cup, win the money. I mean that is watching? Why? you score. You have to keep the what’s going on there. Whereas in Fran’s 5 Explain what Baz Luhrmann means by audience awake at all times, so you use family, dancing is a tradition, it comes red curtain cinema being 'audience device. And dancing was in Strictly from life, it is an expression of life. participation cinema'. How does the Ballroom, in Romeo and Juliet it’s FII: Finally, Strictly Ballroom celebrates audience 'participate' in watching the language, they’re always speaking in Australia’s multicultural society. film? What 'devices' are used to remind iambic, and in Moulin Rouge they sing. Ireland’s population is becoming the audience that they are watching increasingly multicultural. What a film? So you know, it is a different kind of message can you offer an Irish audience 6 What impressions do you receive of experience, more like playing an album or on this issue? Baz Luhrmann from this interview? a record or something where you hear BL: I mean I can only speak for Australia... Comment on some of his views music. It’s not about revealing plot. Most it’s one of the great, great things about and whether you agree/disagree Naturalism usually buries plot and then Australia. I mean, we have the second with him.

STRICTLY BALLROOM 19 APPENDIX B TRISTRAM MIALL INTERVIEW

FII: How did you become a producer? distributor2 was prepared to commit to making of Strictly Ballroom as a ‘David Can you tell us something about your releasing the film, with a minimal P&A and Goliath’ journey. What were the career and the productions you have spend3 and no distribution guarantee! I main difficulties from the producer’s worked on before and since Strictly don’t think it is easier now. In fact I point of view? Ballroom? believe it is harder. TM: No one wanted to know about our TM: My career started in television, not FII: Strictly Ballroom was made on a orphan project except us. Which made us features. I was a researcher in low budget and was hugely successful. that much more determined. Ted Albert, documentaries for the ABC1 (the public How did it affect the Australian film my partner, died most suddenly of a heart broadcaster) – one of the great jobs in the industry? What opportunities exist for attack just when we had got the script industry. Then I started directing and low budget filmmakers in Australia there and were gearing up to raise the producing documentaries. In time I nowadays? finance. The Australian Securities became increasingly interested in telling TM: Strictly Ballroom was a fairy story Commission who issue the guidelines stories that could better be told in a come true. It gave the industry a huge under which a prospectus5 can be issued dramatised form. So it was a natural kick along. It launched Baz Luhrmann’s and raise private investment, changed all progression. I understood structure, and feature film career. It gave the sales their rules – and then didn’t issue new of course how films are made. I produced company, Beyond Films, a profile ones for some months, effectively cutting a mini-series for television; and not long internationally. It brought profits and off this source of finance. after I set up the company with Ted Albert glory to its investors. And it made the Paul Mercurio twisted his ankle three days that made Strictly Ballroom. Ted had seen government feel good about the support before we started filming. The big end the stage play and suggested it might be it gave the industry. And it made scene was scheduled during the lunch something fun. And so it was. international distributors watch what was break of a real competition a couple of FII: For students who may be interested happening here. For a while. These days days later. We couldn’t change it. He had in becoming producers themselves, there are opportunities for low budget to be able to do it, swollen ankle or not! what are the qualities that a successful filmmakers. But mostly in short form We never had enough money; and the producer must have? Can you offer any drama. There are a number of contingency was blown before we got into advice to aspiring film producers? competitions like Tropfest4 for short films. post-production. The major investor, the TM: First and foremost a producer brings There is also more government funding Film Finance Corporation saw a rough- his/her own gut instinct for a story that for projects that bridge the gap between cut6 of most of the film because we will appeal to an audience. Then you must short films and features. It comes down to needed extra money from them for music. understand the process. My personal the passion and the commitment of the They hated what they saw and did their feeling is that it helps enormously if you filmmaker. best to frustrate us from then on. But the have made a film yourself. You need FII: In the introduction to the Strictly other side of the coin is that a few key tenacity, salesmanship, and leadership. Ballroom screenplay, you describe the people responded to our vision, passion, You need to be the calm in the eye of the initial visit to Cannes as unsuccessful. whatever – and helped us no end. storm. And you need a healthy bank Why do you think it was so difficult to FII: Strictly Ballroom is on the school balance and/or an understanding bank sell the humour and style of the film to curriculum in Australia, and is also one manager. overseas producers? of the prescribed film texts in the FII: Australia was in an economic TM: The first visit to Cannes with Baz was Leaving Cert here in Ireland. What recession in the early Nineties. What unsuccessful, but it taught us a lot. makes it such a popular choice for was it like trying to get funding for Distributors in Cannes are there to either study, do you think? Strictly Ballroom at that time? What is look at completed films, or sell their own TM: It’s a classic myth set in an unlikely, the situation like now? films (sometimes still in post-production). but visually romantic context. Moreover, TM: There weren’t that many features They are not interested in scripts. for young people it’s about empowering being made in the early nineties. We had Financing deals can happen, usually the young and talented and oppressed. enjoyed generous tax concessions in between established with big The metaphor is clearly recognisable earlier years; but these had resulted in a names attached. But of course no one across all cultures. I also think everyone spate of forgettable films (with some knew us from a bar of soap. Plus there feels there’s a bit of the Fran in them. notable exceptions). The tax concessions was the inevitable reaction to a story set That they are just waiting for the right were wound back; and it was hard. We in this kitsch world of ballroom dancing. opportunity to turn into a swan. had hoped to raise at least half the We had prepared a glossy document, FII: Strictly Ballroom celebrates budget from private sources, but that was which featured colour photographs of Australia’s multicultural society with a disillusioning experience. The Film ballroom champions and their world. It the uniting of the Anglo and Spanish Finance Corporation were being very also included at the end cartoon scenes communities at the end. Can you cautious about a first time feature from the script. Baz is a wonderful suggest some other Australian films producer, film director, and a largely storyteller and had been a ballroom that reflect Australia’s cultural unknown team. The budget was reduced dancer in his childhood. If anyone could diversity? by 35%, which was the level of risk they have sold the concept, he could. TM: There would be quite a few, and I am would take. Only one art-house FII: Baz Luhrmann has described the sure that I will now forget some important

STRICTLY BALLROOM 20 ones, but here goes. Looking For STUDENT EXPLORATIONS Alibrandi, which won the AFI7 award for Best Film a couple of years ago, is set in 1 The main role of a producer is to raise the Italian migrant community. (And I am finance and see through the production currently financing another Italian migrant from beginning to end. According to story called Firehead.) Wog Boy; Priscilla, Tristram Miall, what are the qualities Queen of the Desert celebrates a different that a film producer needs to be sort of cultural diversity. The Rabbit Proof successful? Do you agree? Fence is an Aboriginal story; Floating Life; 2 Despite various difficulties the Beneath Clouds; Australian Rules; La filmmakers managed to get Strictly Spagnola.8 Ballroom made. After its release, FII: Films like The Quiet Man and Far Tristram Miall says its success was like a and Away use familiar stereotypes in 'fairy story come true.' What was the their representations of the Irish. Do film's impact on the Australian film you think any comparisons can be industry? drawn between the Australian and Irish 3 Tristram Miall says that Strictly Ballroom film industries and the way their remains popular because it is about cultural identities are represented in 'empowering the young and talented films internationally? and oppressed.' Do you agree? Why TM: For every instance of cultural do you think the film has such stereotyping, there are many more that universal appeal? reflect cultural complexity and 4 Some Australian films use familiar individuality. For every Crocodile Dundee stereotypes, but Tristram Miall cites there is a or a Gallipoli. several examples of films that reflect FII: With some notable exceptions (eg. Australia's diversity. View one of these My Left Foot, The Commitments, films and discuss its themes/ Michael Collins), Irish audiences are plot/characters, showing how the film reluctant or do not have many offers more than stereotypical opportunities to go and see Irish films representations of Australia. at the cinema. Most box office 5 Why do you think Australian film critics successes are Hollywood films. Do are 'kinder' to Australian film releases? Australian audiences enjoy seeing Is this fair, do you think? Do Irish critics Australian films? adopt a similar approach to Irish-made TM: Australian audiences very much enjoy films? seeing their own films, but are probably no better than Irish ones at doing so. The reasons are familiar ones. Firstly we make far fewer films than Hollywood, so on the law of averages... Secondly our budgets are smaller; and there are certain types of film we don’t bother with – because the Americans make them better. These are mainstream youth market films. What is absolutely clear is that when we make a truly great film everyone wants to go and 1Australian Broadcasting Corporation see it. Our critics tend to be kinder on 2Film distributors are companies that acquire the local films than ones from overseas, rights to films for distribution at cinemas particularly America. You can argue the 3Publicity and Advertising budget merits or otherwise of that; but there is a 4Tropfest is a Sydney-based festival desire to be supportive when it is 5A prospectus is prepared by a company when raising warranted. finance. It sells the idea to potential investors, so that At the end of the day, the world is they will invest in the project, and usually provides shrinking. and are details on past performance and the kind of return currently shooting a $100m feature for Fox investors can expect. in Mexico. It’s an adaptation of a Patrick 6A rough cut is the first draft of a film O’Brian novel (18th Century sea-faring), 7Australian Film Institute with a screenplay by an English writer 8For details check out the internet movie database living in Sydney. What more can I say? www.imdb.com

STRICTLY BALLROOM 21 APPENDIX C SEQUENCES FOR STUDY

1 The Southern District Waratah • Shirley, Vanessa, Liz all persuade Fran to telling a drunken Ken Railings and Tina Championships go home and not ‘spoil things for Scott’ • Sparkle that the competition has been •Red curtain opening, with music from •Tina Sparkle is introduced to Scott as fixed in their favour Strauss’ Blue Danube her new partner, but Scott tells her he’s •Wayne and Vanessa tell Les, and he • Shirley Hastings speaks to camera in not available confronts Barry ‘mockumentary’ style • Scott goes after Fran, knocking over • Scott dances with Fran and the • Flashback to the dancers at the Waratah Barry Fife’s video display stand as he audience loves them Championships leaves • Charm Leachman cuts the music and • Scott and Liz are shown being ‘boxed in’ Barry tries to disqualify Fran and Scott • Scott dances his own ‘crowd pleasing 5 Paso Doble – Fran’s House • Doug starts to clap. Then Rico and Ya Ya steps’ in response • Scott follows Fran home and meets a join in and soon the whole audience is •Barry Fife, shown at his desk, gives his suspicious Rico applauding opinion •Ya Ya invites Scott and Fran to show •Liz reconnects the power supply • The winners are announced, and Scott them how they can dance •Fran and Scott’s dance ends, to massive and Liz have lost •Everyone laughs at Scott and Fran’s cheering from the crowd. ballroom dancing version of the Paso •Barry falls and knocks over the display 2 New Partners – Kendall’s Dance Studio Doble of trophies •Liz is furious with Scott and refuses to •Rico and Ya Ya dance the Paso Doble •Everyone joins in the dance finale be his partner their way, and teach Scott how to listen together to the song Love is in the Air • Scott asks Wayne his opinion of the to the rhythm steps, but Wayne says he doesn’t know • Scott goes home and tells Shirley that •Les tries to persuade Scott not to dance he is going to dance with Fran. Shirley his own steps reacts angrily and slaps him •After Pam Short’s unexpected accident Ken asks Liz to be his new partner 6 Practising for the Pan-Pacifics • Doug secretly watches film footage of •Rico and Ya Ya help Scott and Fran Scott dancing his new steps prepare for the Pan-Pacifics • Scott dances alone in the studio •New steps are rumoured, but Barry •Fran approaches Scott and asks to be denies it: “There are no new steps!” his new partner: he accepts after she •Rico tells Scott and Fran they are ready calls him ‘a gutless wonder’ for the Pan-Pacifics • Scott and Fran exchange a kiss 3 The Try-Outs •Back at the Dance Studio, Barry tells •Les Kendall and Shirley Hastings hold Scott that Doug ruined his own dancing try-outs to find Scott a new partner career because of his crazy new steps •Fran and Scott practice together in secret • Flashback to the past and Barry’s • Doug dances alone at the Dance studio version of Doug’s downfall •Fran and Scott dance together on the • Scott needs proof, so he opens Doug’s rooftop locker and discovers the photo •At the Hastings’ house Shirley expresses her frustration at Scott’s lack of a 7 The Pan Pacific Grand Prix Dance suitable partner Championships •Fran and Scott continue practising, • Scott is dancing with Liz because he dancing to the song Time after Time believes Barry Fife’s story • Scott walks Fran home. Rico, Fran’s •Fran competes in the Beginners’ Final - father seems angry with Fran. Ya Ya without Scott watches from the window • Doug eventually catches up with Scott, and reveals the truth about what 4 The State Championships happened in 1967 - Shirley dumped him • Shirley Hastings tells Fran that Tina to dance with Les instead Sparkle will be Scott’s new partner. Fran • Doug explains: “We lived our lives in runs off, upset. Scott chases Fran and fear!” and Scott leaves Liz onstage as he everyone else chases Scott runs after Fran • Scott finds Fran and dances backstage with her, to the song ‘Perhaps’ 8 Scott & Fran’s Big Moment •Liz arrives and breaks the spell, telling • Scott catches up with Fran and she Fran she’s just a beginner. Fran trips agrees to dance with him over, suddenly self-conscious •Wayne and Vanessa overhear Barry

STRICTLY BALLROOM 22 APPENDIX D KEY MOMENTS

Key Moment/Mode(s) of Comparison Film Language (mise en scène - camera- What does the scene convey to the work, costume, props, lighting audience? characters’ actions/expressions. Also editing, music/sound effects)

Sequence 1 This part of the opening sequence is in Reveals Shirley’s ambitions for Scott to Waratah Championships ‘mockumentary’ style as Shirley is framed become a champion. Competitive world Shirley speaks to camera about the in medium shot with Doug and speaks to of ballroom dancing is hugely important tragedy of Scott’s new steps camera about the ‘tragedy’ of Scott’s to her. Relationship between Doug/ steps. Realistic lighting provides contrast Shirley shown as unequal, as she does Cultural context to dance hall. Captions identify the all the talking and he says nothing. Hero/Heroine/Villain characters. Tacky décor of Hastings family home shown, pastel colours, trophies, Framed photos of Scott/Liz everywhere.

Sequence 2 Long shot of Scott, who moves into a Scott is positioned as the hero in this New Partners spotlight in the centre of the dance floor scene. The camera focuses on him Scott dances his own steps in the and begins to dance his own steps. Low throughout. He is shown here dancing Dance Studio angle close-ups of Scott’s feet. Scott is his own steps revealing his creative side, wearing plain white top/black trousers, and providing a contrast between this Hero not the glitzy costumes of ballroom and the artificiality of the ballroom Cultural context/social setting dancing. Camera stays with Scott dancing world. throughout dance sequence.

Sequence 1 Darkened office, mockumentary style, Barry Fife is represented as a villain. Waratah Championships Federation President Barry Fife is sitting The use of shadow/darkened lighting Barry Fife’s office behind a desk, emphasising his position emphasises this, implying that he is of power. As he speaks to camera, his untrustworthy. His echoing words reveal Theme: Power/Corruption voice echoes, sounds threatening: that he decides who wins and that the Hero/Villain “You can dance any steps you like, but Dance Federation, led by him is corrupt. that doesn’t mean you’ll…win.” Zoom into close-up of his mouth when he says the word “win”.

Sequence 4 Low angle close-up shots from Fran’s Fran is represented here as a victim State Championships point of view looking up at Shirley, Liz & of bullying and we are invited to Shirley, Liz and Vanessa persuade Fran to Vanessa emphasises their domination and sympathise with her. Shirley, Liz & go home Fran’s isolation and vulnerability. Vanessa have ganged up on Fran and are portrayed as villains, Hero/heroine/villain particularly Shirley.

Sequence 5 Scene takes place on the porch outside Fran’s family are depicted as outsiders, Paso Doble Fran’s house, which is in a rundown, marginal to mainstream Australian Rico challenges Scott and shows him marginal area near railroad tracks. Natural, society. They are represented as more how to dance the Paso Doble exterior night setting. Guitar music contrasts natural, authentic than the winning- with taped music at dance hall. Close-up obsessed Anglo-Australians. Dance is Cultural context/ social setting shots of Rico’s feet during Paso Doble, ‘from the heart.’ Exterior setting - Spanish culture vs Anglo-Australian rhythm of feet tapping is heard throughout reinforces contrast with interior world the scene. Spanish dialogue emphasises of ballroom dancing. Scott’s outsider status in Fran’s world.

STUDENT ACTIVITY: (GROUP/INDIVIDUAL)

Create another list of key moments from the film that highlight other modes of comparison. Using film language, explain what each key moment conveys to the audience, and how they illustrate the mode(s) of comparison.

Present your findings to the class, and compare/contrast with other comparative texts on your course.

STRICTLY BALLROOM 23 APPENDIX E FILM LANGUAGE

Art Director: The designer in charge of Continuity: The person responsible for Narrative/Plot: The story sets and costumes ensuring that details in one shot will match details in subsequent shots Out-Take: A shot/scene that is not Camera Position: The position from included in the final cut of the film which a camera is pointed at the subject Cross-Cutting: This involves intermingling the shots of two or more scenes to Pace: The speed or rhythm of a film, for - High Angle Shot: The camera points suggest parallel action, for example after example editing, music, dialogue all down towards the character, making the Scott catches up with Fran the film then contribute to the film’s overall pace subject look vulnerable cuts to Wayne and Vanessa who overhear Barry Fife’s plan (Sequence 7: The Pan- Producer: The role of the producer is to - Low Angle Shot: This shot is taken Pacifics) raise finance for the film and organise all from below with the camera pointing aspects of the production from start to up towards the character, making Director: The director organises the finish him/her look bigger and more efforts of all the artistic/technical people powerful, for example Barry Fife on involved in the production and gives the Reaction Shot: When the camera cuts stage (Sequence 1: The Waratah finished film its shape, tone and visual away from the main scene or speaker in Championships) signature order to show another character’s reaction

- Aerial Shot: A shot taken from a Dissolve: A slower, more atmospheric Rough-Cut: The first draft of a film plane, crane or helicopter, for example means of transition from scene to scene, when Scott and Fran are dancing on the often implying the passage of time. The Scene: A series of shots or a single shot roof (Sequence 3: The Try-Outs) end of one scene fades out, while the that takes place in a single location and beginning of the next fades up deals with a single action - Long Shot: A long shot includes at least the full figures of the subjects, Editor: The editor organises the narrative Score: The music for a film usually more structure of the film by putting all the different shots together after the film has Screenplay: The script of a film - Establishing Shot: Usually a long been shot shot, it shows the audience the location Sequence: A series of scenes that make of the scene and provides information Final Cut: The complete film on its release up a complete section of the film’s story about characters Flashback: A scene or a sequence that is Shot: A single piece of film, however long - Medium Shot: A shot showing inserted into a scene in present time and or short without cuts, exposed continuously character/subject from the knees up, for deals with the past, for example when example when Shirley speaks to camera Shirley speaks to camera about Scott’s Shot-Reverse-Shot: When the camera about Scott’s steps (Sequence 1: steps, the film cuts to a flashback of the cuts from one character to another during Waratah Championships) Waratah Championships (Sequence 1) a conversation or exchange of looks

- Close-Up: When the camera is very Freeze-Frame: A freeze shot, which is Slow-Motion: This effect is achieved by close to a subject to show more detail achieved by printing a single frame many filming action at speeds faster than the or the expression on a character’s face times in succession to give the illusion of normal 24 frames per second, and then a still photograph projecting them at normal speed. Slow- - Point-of-View Shot: A shot that motion has been described as a ‘close-up shows the action from a character’s Genre: A particular narrative form or type in time’ as it nearly always has the effect point of view, for example when Doug of film. There are several recognisable film of making the scene seem more ‘lyrical,’ reveals the truth (Sequence 7: The Pan- genres including the , Detective for example the silhouetted dancers in the Pacifics) the camera shots are from Story, Romantic Comedy, Documentary, opening moments of the film (Sequence 1: Scott’s point-of-view as he looks around Horror, Musical. Baz Luhrmann describes Waratah Championships) him before jumping off the stage his trilogy of films as examples of red curtain cinema, a new cinema form/genre Sound: Diagetic sound is part of the - Panning Shot: The camera moves action; non-diagetic sound includes from left to right Lighting: The process and technology of music/sound effects imposed on the action illuminating sets and action in the - Tracking Shot: Any shot in which the shooting of a film Voiceover: Spoken description or analysis camera moves from one point to of action on the soundtrack of the film, another, sideways or in or out, for Mise en Scène: A French theatrical term, for example Barry Fife’s version of the example when Scott slides along the which literally means ‘putting in the truth about the 1967 Championships, as dance floor at the Pan-Pacifics scene’, and refers to camerawork, the told to Scott (Sequence 6: Practising for (Sequence 8: Scott and Fran’s Big actors’ movements/ expressions, the Pan-Pacifics) Moment) costumes, props, framing and lighting

- Zoom: The lens of the camera is Montage: a) A short sequence of rapidly adjusted so that the subject is brought cut or dissolved shots that tell a story much closer to camera, for example in economically, or show the passage of Barry Fife’s office (Sequence 1: Waratah hours, days, months or years, as in Championships) the camera zooms into Sequence 3: The Try-Outs a close-up of his mouth Or b) any sequence that joins together Cinematographer/Director of distinct images rather than following Photography: Responsible for the camera, dramatic action lighting and the visual mood of the film

STRICTLY BALLROOM 24 APPENDIX F FILMOGRAPHY

RECOMMENDED AUSTRALIAN FILMS emphasis on musical performance, from their families and placed in colourful costumes and over the top institutions. Set in the 1930s and starring Walkabout (1970). Nicolas Roeg's film tells characters. Priscilla tells the story of a trio Kenneth Branagh, the film tells the story the story of a teenage girl (Jenny Agutter) of drag queens who travel across the of Aboriginal girls who escape from the and her younger brother who are Australian desert in a pink bus. In Muriel's religious institution they have been placed abandoned in the outback by their father. Wedding, lonely Muriel (Toni Collette) in and try to find their way home. Their survival depends on an aboriginal escapes from the boring coastal town of boy who befriends them and helps them Porpoise Spit, and moves to Sydney where * Available from Irish Film Centre find their way home. she changes her name to Mariel and Bookshop. To order VHS/DVDs contact: dreams of having the perfect wedding. IFC Bookshop on (01) 679 5744 Picnic at Hanging Rock (1978). A haunting and atmospheric drama set in Victoria in Two documentary films, Cinema of The above films may be also available to rent from good 1900, when schoolgirls disappear Unease: A Personal Journey by Sam video/DVD rental outlets. It is also worth checking the mysteriously during an afternoon picnic. Neill, and 40,000 Years of Dreaming: A internet if you are interested in buying VHS/DVDs online. Century of Australian Cinema are included The Chant of Jimmie Blacksmith (1978). on the following VHS; The Century of Directed by this is a violent Cinema: New Zealand & Australia (1996).* and uncompromising drama about the Each offers a personal view of the New conflict between Aboriginal and settler. Zealand and Australian film cultures, and there are several interesting film clips. My Brilliant Career (1979). 's first feature stars Two Hands (1997) is a crime comedy caper and , and is based on Miles set in Sydney starring as a Franklin's novel about a woman's gangland boss who sends a young surfie aspirations to be a writer. (Heath Ledger) to deliver cash to an address in Bondi. But when Ledger loses Gallipoli (1980). Directed by Peter Weir the money at the beach, the gang is and starring Mel Gibson, the film provides furious and seeks revenge. an Australian perspective on the disastrous Gallipoli operation of April The Castle (1997) * A low budget hit in 1915 during the First World War. Australia and overseas, this affectionate comedy tells the story of a quirky Aussie George Miller's Mad Max (1979), * a family who fight to defend their home futuristic action starring Mel from developers. Gibson, was hugely successful in Australia and overseas. Sequels Mad Max II (1981) * The Dish (2000).* Made by the same team and Mad Max: Beyond Thunderdome who produced The Castle, this gentle (1985) * were also box office hits. comedy is set in July 1969 in a small rural town in . Actors Sam (1987) and Neill, Kevin Harrington and Tom Long play Flirting (1991) directed by are Australian scientists who become unlikely both 'rites of passage' films about a heroes because of the part they play in young teenager Danny () broadcasting the first TV pictures of the growing up in Australia in the 1960s. Apollo moon landing.

Romper Stomper (1992) was released the Looking For Alibrandi (2000) is a coming same year as Strictly Ballroom * but of age story, adapted from the novel by provides a harsh and violent view of Melina Marchetta. Set in Sydney's Italian society, in stark contrast to Strictly's migrant community Josie is a teenager optimism. Set in suburban Melbourne who lives with her mother (Gretta Russell Crowe plays Hando, the leader of a Scacchi). When she meets her father racist skinhead gang. (Anthony LaPaglia) she discovers family secrets that solve the mystery of her past. The Adventures of Priscilla, Queen of the Desert (1993) * and Muriel's Wedding Rabbit Proof Fence (2002) explores a (1994) * have been described as 'kitsch significant and tragic part of Australian comedies', and have similarities to Strictly history: 'The Stolen Generations,' when Ballroom. All three films share an Aboriginal children were forcibly removed

STRICTLY BALLROOM 25 NOTES

ACKNOWLEDGEMENTS The author wishes to acknowledge the valuable contributions of both director Baz Luhrmann and producer Tristram Miall to this study guide. Thanks are also due to the staff of Twentieth Century Fox, Buena Vista International (Ireland) and Eclipse Pictures for their support.

Ann Ryan

Written by Ann Ryan, fiieducation Produced by Grinne Humphreys, Alicia McGivern and Ann Ryan @ fiieducation

All ‘Strictly Ballroom’ images © M&A Film Corporation Pty Ltd. Source: BFI Collections

‘Picnic of Hanging Rock’ image courtesy of producer Jim McElroy

‘The Dish’ image courtesy of Eclipse Pictures

AUSTRALIAN EMBASSY DUBLIN

© Film Institute of Ireland, 6 Eustace Street, Dublin 2. T: 01 679 5744 E: [email protected] W: www.fii.ie A Fresh Design, Dublin. Telephone: +353 1 4913128