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LONG WEEKEND
From Australia, an almost-classic mood piece about nature turning on a young couple. No, this definitely wasn’t the first film to utilize such a premise, but I can say with certainty that it is one of the most memorable.
The Package
Despite its flaws, the micro budgeted LONG WEEKEND (1978) stands near—or
possibly even at—the top of the Australian genre boom of the late
seventies/early eighties. That boom includes PATRICK (‘78), MAD MAX (‘79),
THIRST (‘79) and ROADGAMES (‘81), which incidentally was penned by LONG
WEEKEND’S screenwriter Everett De Roche. LONG WEEKEND also (though perhaps
inadvertently) taps into one of the most popular subgenres of the time: the
Nature-in-Revolt movie, of which there were quite a few in the seventies, mostly
from the US. FROGS (‘72), PHASE IV (‘74), WHERE HAVE ALL THE PEOPLE GONE?
(‘74), THE PACK (‘77) and DAY OF THE ANIMALS (‘77) are some of the more notable
entries in the cycle.
Of course, none of the above films have a tenth of the
artistry or imagination of LONG WEEKEND, which eschews the pseudo-scientific
rationales popular in such fare (i.e. the destruction of the ozone layer
causes all the world’s animals to turn on humans, the premise of the decidedly
underwhelming DAY OF THE ANIMALS) in favor of an eerie account of the
unexplained that’s closer in sprit to the early films of Peter Weir (PICNIC AT
HANGING ROCK, THE LAST WAVE) or even Alfred Hitchcock’s THE BIRDS, surely the
granddaddy of all Nature-in-Revolt films.
The Story
Peter and Marcia, a young Australian couple, find their marriage
disintegrating; they decide to spend a three day weekend at a coastal campsite
in a last ditch effort to improve their relations. Driving out to the area,
however, they inadvertently run over a kangaroo on the highway and a bit later
plow through pristine undergrowth. Such seemingly frivolous actions will turn
out to have deadly consequences, and the stakes are raised when, once they’ve
set up camp, Peter goes on a senseless shooting rampage, gunning down any animal
that moves no matter how small or defenseless.
The strangeness begins slowly, as tiny animals begin attacking Peter,
Marcia hears creepy wailing sounds and a long extinct sea monster washes up on
the beach. Peter discovers a near-deserted tent which holds only a growling
dog. Marcia, meanwhile, spots a suspicious shape in the ocean that turns out to
be a submerged car with a dead body in the back seat. Throughout it all Peter
and Marcia discover, much to their consternation, that, far from bringing them
together like they hoped, this vacation is actually straining their marriage to
the breaking point. Things get so bad that Marcia eventually jumps in the car
and drives off, but finds the road back to civilization blocked by falling birds
and tarantula ridden vegetation. Peter, left alone in the wilderness, finds
himself walking in circles and tormented by ominous sights and sounds. He fires
his gun a few times without looking at precisely what he’s hit--an unwise move,
as it turns out…
The Direction
This film is, in a word, atmospheric. Stunning widescreen cinematography
by Victor Monton and deceptively calm, picturesque locations work to conjure an
oppressive ambiance of disquiet that kept me glued to the screen throughout the
first hour, even though not a whole lot was really happening. John
Hargreaves and the frequently nude Briony Behets deliver solid performances,
anchoring what is essentially a two character piece…although the real star is of
course the scenery, which is made to look both beautiful and menacing.
Unfortunately, director Colin Eggleston can’t quite sustain his superbly
wrought mood throughout the ninety minute length. The narrative runs out of
steam a little after the one hour mark; Hargreaves, after all, can only jump at
so many shadows before monotony sets in. The ho-hum ending, furthermore, was
neither surprising nor shocking, at least to these jaded eyes. Nevertheless,
the film ultimately weaves a powerfully ominous spell that’ll definitely stay
with you. It may not be perfect, but it’s still far above average.
Vital Statistics
LONG WEEKEND
Dugong Films
Director: Colin Eggleston
Producer: Colin Eggleston
Screenplay: Everett De Roche
Cinematography: Vincent Monton
Editor: Brian Kavanagh
Cast: John Hargreaves, Briony Behets