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Tag Archives: Wayne Blair

The Sapphires

 

We’ve seen plenty of films centred on the victories of the Civil Rights Movement. Most are quite interesting but the bulk of them seem to float in the ether of the social and political significance of their subject matter, and don’t make a particularly smooth landing in the grit and grime of reality. That criticism can’t be levelled at The Sapphires.

Inspired by the true story of the writer’s mother, who toured Vietnam during the American WarThe Sapphires portrays three sisters and a cousin, young Aboriginal women who in 1968 are discovered by a drunk Irishman who can barely hold down a job but has a great passion for Soul music and recognises a talent. Auditioning for an American military talent scout, they are recruited and find themselves on their way to a war zone.

The story veers close to the heavy themes of racial discrimination, the Stolen Generation, and the moral predicament of the Western powers in Vietnam, but deftly avoids wallowing in them, instead focusing on the narrative of a family. It is remarkably how carefully balanced this story is, since it could so easily drop into a tirade on the heavy themes it skirts, but instead focuses on the triumph of hope and perseverance.

The Sapphires is distinctly the product of the early twenty-first century. It looks back at this period as a critical juncture in world history, a point when the usual shift in cultural values across the western world took on seismic significance and fundamentally altered the way we see things. And unlike most films that try to do this, it doesn’t preach, it doesn’t overstate the political and cultural significance of its subject matter. It just tells the story of five young people experiencing change at the crossroads of world culture. This is cinema at its best.

 

 
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Posted by on Friday, 10 August 2012 in Australian Film, Film, Goalpost Pictures

 

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Ruben Guthrie

I want to charge Brendan Cowell with writing a masterpiece in Ruben Guthrie, but I fear that would undermine the intense humanity of this work. This is Australian playwriting at its best, exploring Australian society with no sense of cultural cringe, and no sense of being old fashioned or quaint.
The promotional material for Ruben Guthrie repeatedly asks whether it is unAustralian to refuse a drink, but whether it is Australian or not is not really a concern for the central character, who you might have guessed is called Ruben Guthrie. His main concern is staying sober, not only within a nation that loves a drink, but within an industry where alcohol consumption is a selection criterion, and within a family with a strong love of the bottle. Brendan Cowell has dealt with his story’s heady themes with a deft hand, plenty of humour, and stoicly (and wisely) refuses to answer the marketers’ question.
What I found most remarkable about this play was the way in which Cowell has managed to show the fundamental failings of social programs that seek to address addictions or compulsions (such as AA’s famous twelve steps), while also showing their effectiveness.
I recall reading some time ago Neil Armfield saying something about theatre being “necessary”. The terminology has stuck with me, because many people see the arts as an optional extra, something to make life enjoyable, rather than a crucial building block of a healthy society. Ruben Guthrie eloquently articulates the reason why the arts, and especially the narrative arts, are necessary to a society, and in the process, it also highlights the inadequacies of the social work profession.
But that doesn’t make it any less funny. In fact, it is yet another example of that spectacular Australian creation: the play that is, at once, both drama and comedy.
 
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Posted by on Sunday, 24 May 2009 in Belvoir, Sydney Theatre, Theatre

 

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