This film follows the emotional life of Beth (Lisa Harrow), a mother and very competent writer. Much of the story occurs in Beth's inner city terrace, and focuses on the interpersonal relations of the characters that live there. These include JP (Bruno Ganz) Beth's husband and French lover, Vicki (Kerry Fox) Beth's younger sister, just returned from overseas, Annie (Miranda Otto) Beth's daughter from another marriage and Tim (Kiri Paramore) a young boarder lodging at the house (Caputo 1992b:53).
Beth and JP's relationship is 'on the rocks', when Vicki returns from travels and a failed relationship overseas. Later on in the story Beth travels into the outback with her father (Bill Hunter) to reconcile their long-standing, tense and uneasy relationship, however while this is occurring JP is having an affair with Vicki (Caputo 1992b:53). When Beth finds out about the affair she ends her previously close friendship with Vicki. Here the film emphasises the fragile and changing nature of relationships (Caputo 1992b:53). In the end JP and Vicki move out.
Food plays an important part in the plot. When Vicki first arrives back to 'Chez Nous' (the house) she cuts a piece of her homecoming cake, not waiting for the others before cutting it. She is only thinking about herself and in a way this act represents what the film is about: the way we relate, the way we can be cruel and the way we can be kind, the small niggly things that annoy us about others and ourselves (Franke 1993:43). In a later scene Beth likewise cuts a piece of JP's unripe, 'special' brie without asking, igniting his temper. The resultant furore tells us this is not just about (a small thing like) cheese, but rather something bigger (Francke 1993:43). The film ultimately faces 'post-feminist' issues through the character of Beth. She has a career and family but where is the fun, what has she lost in the name of a career? Why can't she see positive, fun moments in the everyday, why does everything seem like a struggle or a fight? (Urban 1991:19; Mordue 1992:65).
In 1992 the year of it's release, The Last Days of Chez Nous (1993) (received much local praise. Lisa Harrow (Beth) won the Best Actress category at the AFI (Australian Film Institute) Awards in 1992. Kerry Fox (Vicki) won Best Supporting Actress at the Asia Pacific Film Festival, Seoul, 1992. Geoffrey Simpson received a (Highly Commended) award in the Feature Productions, Cinema Section at the 1992 Australian Cinematographers Society Awards. Helen Garner was voted Best Original Screenplay and Bill Hunter Best Supporting Actor by the Film Critics Circle of Australia in 1993 (Australian Feature Films, Informit).
Critics said ' Last Days ' (The Last Days of Chez Nous) had ....'a real nuggety-type quality about it: a small, compact film which uncovers a motherload of sweet and sour nerve endings involving a rather quirky group of characters', (Caputo 1992b:53). Mark Kermode (1993:58) in a video review states that Last Days ...'is a triumph of Antipodean independent film-making'. However, on its international debut at the 1992 Cannes film festival, there was a more sombre reception. Jan Epstein (1992:24) reviewing the Australian films at Cannes highlights the problem for Last Days. It was exploring ...' traditional European themes such as existentialism and angst' within the Australian context and vernacular, but did so unconvincingly. Last Days wasn't quite there somehow.
Epstein (1992:24) goes on to suggest that while the story is interesting and real to life, it feels to contrived. It is put together artificially and lacks a certain flow and continuity. The obvious example of this is a scene where Beth is demolishing the bathroom in anger after finding out how serious JP feels about his relationship with Vicki. The audience can feel the intensity of Beth's hatred and disgust, and yet in the very next scene we see JP and Beth throwing stones together at an old abandoned house, in a childlike way (Caputo 1992:53). This is confusing and creates discontinuity. It is only when the dialogue in the second scene begins, that things are clarified for the audience.
Other criticisms of the film focus on the fact while Australians do speak and think about serious issues at length, (this film definitely does this). They usually only do so after masking their ...'feelings with irony and self-parody' (Epstein 1992:24). Last Days does not do this and consequently lacks an Australianess about it. This may be so, but perhaps Last Days is trying to transcend that traditional image of Australians as self-parodying and ironic. Epstein's (1992:24) final criticism relates to the dialogue of Last Days which she describes as ....'self-conscious, artificial and pretentious'. To be fair the dialogue is pretty staid, however what Garner and Armstrong are trying to emphasise with this film is that the mundane nature of relationships are built on and can collapse on the smallest details, whether it be in dialogue or gestures (Francke 1993:43). We only have to think about JP's reaction to Beth for eating a piece of his brie, to understand this.
Last Days was a $3.7 million feature funded by the Film Finance Corporation (FFC). It was one of five small films financed by the Corporation and shooting occurred over an eight-week period. Prior to that, the script was worked on for three years by Garner and Chapman with Armstrong strengthening the final draft six months before the shoot (George 1991:06). Most of the eight-week shoot occurred at a cramped terrace house in the Sydney suburb of Glebe, two adjacent terraces being used for equipment and make-up. The other location involved was Broken Hill, here two weeks of shooting took place (George 1991:6-7). Geoffrey Simpson the cinematographer said the main challenge with this production was the cramped location, it meant a low screen time rate. Consequently the scenes come together as a conglomeration of snippets with snatches of dialogue (George 1991:06; Francke 1993:43).
Last Days was released in 1992 with a positive response from the local critical audience, composed of film critics, academics and others more directly involved in film criticism. This can be seen with previously mentioned awards here in Australia and Asia. Scott Murray (1994:97) cites the film as one of the successes to come out of (FFC) funding, however in it's year of release, (1992), it was overshadowed by films such as Strictly Ballroom and Romper Stomper (O'Regan 1996:195). Jan Epstein (1992:22) goes on to mention that Last Days did not sell well to the international market at Cannes in 1992. It was a good example of a European art film, but it failed to transport that genre into the Australian context.
While reviews of the film are mixed we can say that as a small film on a small budget it was reasonably successful at the box office. Geoffrey Simpson the cinematographer reminds us that while Last Days cost $4 million, his other recent U.S. work, Green Card cost $11 million and was to a certain degree a similar film (George 1991:06). Here we have to take into account the projected market and audience size for the film. Last Days, as a government funded film wasn't aiming at a large audience or trying to compete with the Hollywood product.
Last Days is a continuation of director Gillian Armstrong's women- centred films. Her two other major films, My Brilliant Career (1979) and Hightide (1987) have women as the central characters and likewise in Last Days Beth, (a woman), is the central character. Armstrong chooses to focus on the darker side of heterosexual relationships, as well as a number of feminist issues in Last Days. It really is about ....' the disintegration of one relationship and the birth of another '... all in the light of feminism (Murray 1994:125). My Brilliant Career in the same way tracks a woman's desire for an independent life. A desire at the turn of the century for a life of writing, rather than being a mother, and a slave to a marriage. (Mordue 1992:64). Last Days finishes unresolved like My Brilliant Career and follows Armstrong's taste for the traditional art film format.
Along with Armstrong, Jan Chapman (producer) and Helen Garner (scriptwriter) have both worked on women-centred films in the past. Chapman and Garner worked together on 2 Friends a short tele-feature for ABC TV (Australian Broadcasting Corporation). This film focused on two schoolgirls growing up and growing apart (Murray 1994:308). Garner, more of a novelist than scriptwriter has always been interested in feminism and it's effects. Having been a part of the women's movement in the past, Garner' writes to reflect the experience of women, and particularly in the light of feminism (Urban 1991:19).
Geoffrey Simpson as cinematographer has worked in a number of important films. Prior to Last Days these included, Green Card, Fried Green Tomatoes, Mad Max 2, and Sunday Too Far Away. Since Last Days he has gone on to work with Armstrong again, this time in the U.S. feature production of Little Women (FII, refer to appendix two). He seems to be able to give something through his photographic direction to films with a women centred focus.
Casting actors for this film took a long time. The character of JP required someone who could play a convincing Frenchman. Bruno Ganz is actually Swiss but he fitted the art film role of JP very well. His previous work is mainly art-house and included The American Friend, Circle of Deceit and Wings of Desire (Urban 1991:22). Lisa Harrow, a Royal Shakespeare Company Actress had worked with Chapman before on the award-winning Come in Spinner. Her other Australian work included Act of Betrayal (Urban 1991:22). Armstrong felt that the character of Beth had to be an Australian and Harrow filled the role well. Her dramatic background gave her the emotional intensity required to play this demanding role (Mordue 1992:64).
Last Days was a film aiming at the art-film market. It was not an action-packed, Hollywood adventure film. It is more subtle and everyday, working at a deeper level. Australian films don't want to be like Hollywood films, because Hollywood films are just about making money (commerce) and not about art (culture). O'Regan (1996:112) recognises that for Australian film to be funded and made, cultural value needs to be placed on certain types of cinema, while others as a result are devalued.
This is not as simple as saying that Hollywood cinema is all commercial and therefore we should support Australian cinema. Australian cinema simultaneously needs Hollywood cinema to legitimate itself (O'Regan 1996:112). Activists and film-makers seeking funding mobilize a 'discourse of value' to reach their goals. So if we want a vibrant film industry in Australia like the U.S then we need funding. Here Hollywood is valued both culturally and economically in order to have our own film industry.
Here the cinema that is derived from that funding maybe something like Hollywood cinema, something ...'imitative and not oppositional'... (O'Regan 1996:113). Hence this Australian cinema may then be devalued in order to gain funding to create something more 'art-house', something more us. Here we see the core role that values play in a national cinema. The Last Days was a film made through government funding. Its value comes from being an example of an Australian art-house film. Part of the ...'festival and alternative cinema'...(O'Regan 1996:115).
This is where I see Australian film now. It is not valued for it's Crocodile Dundee and Snowy River type epics, but rather for the small films it produces. Last Days may not have created such an impact at the Cannes in 1992 but another one did, Strictly Ballroom. I think contemporary films like Idiot Box are an example of the type of Australian film, valued. Small and nuggety, yet offering something quite different.
Last Days fits into the idea of Australian cinema being a medium sized English language cinema. In it's making, this film was never meant to compete with the dominant Hollywood product. It is aimed at another market. Considering the Hollywood product grosses roughly 80 per cent of the Australian market we can say that Last Days is not in competition with the Hollywood product, but complementary to it (O'Regan 1996:77). Last Days is directed toward the art-film market. Attempting to judge this film's success by way of the box office takings is not really indicative of it's quality. What we can see however, is Last Days similarity to a film of the British cinema.
When we consider that the British cinema has been the ...'only continuous and credible English-language response to Hollywood over the century'... we can see how Australian film-makers have been influenced and shaped by it (O'Regan 1996:97). In Australian cinema we often see an over-emphasis on ....'social realism'..., ...'social problem film-making'..., ...' too much dialogue'... and ...'colourless 'ordinary' leading men and women'..., all the things that are typical of British cinema (O'Regan 1996:97). Last Days suffers from all these attributes, which can make it just another art-film, not much different from what Europe has offers. Epstein (1992:24) in her review of Australian films at Cannes in 1992 suggests this was the problem for Last Days. It didn't assert it's Australianess to the audience, it was too European in feeling and consequently the Australian context did not gel with it.
O'Regan (1996:106) in his discussion on antipodal cinema suggests that this has been the problem for Australian cinema - differentiation. Australian cinema must, on the one hand be like Hollywood, European and British cinema in order to establish markets and cultural links. However it can't be too similar as this would create sameness and hence, disadvantage. Instead Australian cinema has had to negotiate with these other film cultures and in doing so it has developed it's own originality (O'Regan 1996:110). Marginality has created tensions, but with that has come possibilities. Australian Cinema through it's antipodal existence has been able to remain distinctive and inventive.
Part 3
REFERENCES
Armstrong, G. (1993) The Last Days of Chez Nous (Video recording) Columbia Tristar Hoyts Home Video.
Caputo, R. (1992a) ' The Last Days of Chez Nous ' (interview with director). In Cinema Papers no. 90. October 1992: 4-8.
Caputo, R. (1992b) ' The Last Days of Chez Nous ' (review). In Cinema Papers no. 90. October 1992: 52-53.
Epstein, J. (1992) ' Australian Films at Cannes '. In Cinema Papers no.89. August 1992: 22-25.
Francke, L. (1993) ' The Last Days of Chez Nous ' (review). In Sight and Sound. vol. 3. no. 3. March 1993: 43.
George, S. (1991) ' Relationship film but tough and bold '. In Encore. vol. 9. no. 3. 30th March 1991: 6-7.
Informit (1995) Australian Feature Films electronic database. CD-ROM. Murdoch University.
Kermode, M. (1993) ' The Last Days of Chez Nous ' (review). In Sight and Sound. vol.3. no. 12. December 1993: 58.
Mordue, M. (1992) ' The Feminine Mystique '. In Rolling Stone, Australian edition. October 1992: 63-65.
Murray, S. (1994) ' Australian cinema in the 1970s and 1980s '. In Scott Murray (ed.) Australian Cinema. Allen & Unwin. St Leonards, Sydney.
O'Regan, T. (1996) Australian National Cinema. Routledge. London.
Urban, A. L. (1991) ' The Last Days of Chez Nous ' (review). In Cinema Papers. no. 83. May 1991: 18-22.
APAIS. (Australian Public Affairs Information Service)
This electronic database came up with important information on the film within the Australian context. There were 55 entries in total with 19 more specific to the task, (refer to appendix one for a listing of the 19 more specific entries.):
Mordue, M. (1992) ' The Feminine Mystique '. In Rolling Stone (Australia Ed.) October 1992: 63-65.
This article interviews Armstrong by attempting to find out what motivates her filmmaking. Her previous work in particular High Tide is discussed in the light of The Last Days of Chez Nous. Career and domestic issues for women in relation to feminism are also discussed.
Urban, A.L. (1991) 'The Last Days of Chez Nous'. In Cinema Papers no. 83. May 1991: 18-22.
Written during the production process this article interviews both Armstrong and Chapman. The quality of Garner's script is discussed, as is the film's meaning. Is it a 'woman's film' and why is it specifically post-feminist? The difficulty filming in such a cramped location, a small terrace house in Sydney is pointed out, while casting for the film is also discussed.
Film Index International
This electronic database provided a wealth of information on interviews with the filmmakers of The Last Days of Chez Nous. A total of 55 entries were sourced on the film title, director, producer, and cinematographer, and one lead actor, (refer to appendix two at the back of this paper for a complete listing of all entries). In addition the index listed useful information such as cast and credits, synopsis, year of release, production year and company, plus country of origin. I have included two interviews here:
Caputo, R. (1992a) ' The Last Days of Chez Nous '. In Cinema Papers. no 90. October 1992: 4-8.
This article interviews Armstrong and talks about her previous work in relation to this one. Development of the film and the story are discussed, as are the use of space within the film. The reasons for the emotional tug of war between the characters in the film is examined, while the difficulties in articulating this filmicly are discussed. (This article was also sighted in the APAIS electronic database).
George, S. (1991) 'Relationship film but tough and bold'. In Encore vol 9. no 3. 30 March 1991: 6-7.
This interview was primarily with Armstrong and Chapman, however a great deal of the film's production process is explained, (an on location report). Here the cinematographer, Geoffrey Simpson and production designer, Janet Patterson give their thoughts on the production process. Cast members are introduced, while the meaning behind Garner's story is explained.
Film Literature Index (1992)
Under the title of the film one entry was found. A Cinema Papers article by Andrew L. Urban (1991) which has already been mentioned, (refer to appendix 3 for listing)
International Index to Film Periodicals (1992)
Under the title of the film two entries were located. The Urban (1991) article in Cinema Papers previously mentioned was the only interview entry described, (refer to appendix 4 for listing).
On-line presence in the Web literature.
In relation to interviews with the filmmakers at the time of, and after the film's release no material was found. There were film reviews and other film information however these will be dealt with in the next section on reviews.
Bibliographical details of reviews in newspapers, critical essays in journals, discussions in books
APAIS. (Australian Public Affairs Information Service).
In this database reviews of the film were more plentiful. However there did not seem to be much in the way of critical essays (journal articles). Three articles are listed here:
Caputo, R. (1992b) ' The Last Days of Chez Nous '. In Cinema Papers no 90. October 1992:52-53.
Here Caputo reviews the film, pointing out how The Last Days of Chez Nous looks at interpersonal relationships and all difficulty that can lay in them. The way they change and their frailty. He describes the film as small and compact. (This review was also listed in the Film Index International database).
Croft, S. (1991) ' Genre, Style and Address in High Tide '. In Metro
Magazine. no 88. Summer 1991/92: 17-20
This article reviews Armstrong's last Australian feature film High Tide (1987). I have listed the article as a background to her previous Australian work before The Last Days of Chez Nous. This article is a critical essay and certainly the most academic of all the articles examined. It covers the film's form and stylistic features while also looking at the social and feminist issues that come through the film.
Epstein, J. (1992) 'Australian Film at Cannes'. In Cinema Papers. no 89. August 1992: 22-25.
This article looks at the reception of Australian and New Zealand films at the Cannes international film festival in 1992. Films covered include The Last Days of Chez Nous, Strictly Ballroom, Greenkeeping, Romper Stomper, Crush and Map of the Human Heart.
Film International Index
Three listings have been included here:
Franke, L. (1993) ' The Last Days of Chez Nous '. In Sight and Sound. vol 3. no. 3. March 1993: 43.
This review compares The Last Days (The Last Days of Chez Nous) with Armstrong's previous work, Fires Within and High Tide. The importance of food and meals in the film is emphasised, as are the snatches of dialogue and gestures.
Kermode, M. (1993) ' The Last Days of Chez Nous '. In Sight and Sound. vol 3. no 12. December 1993: 58.
Video Review.
unauthored (1991). Cinema Papers. no 82. March 1991: 70.
Pre-production survey: credits and details.
Film Literature Index (1992)
Under film title, no reviews only Urban (1991) interview described previously.
International Index to Film Periodicals (1992)
Under film title, one interview by Urban (1991) mentioned previously and one review:
Stratton, D. (1992) ' The Last Days of Chez Nous '. In Variety. 06 February 1992: 250-251.
Review of the film, on microfilm. Not read due to unserviceable microfilm reader.
Australian Feature Films - Informit
This electronic database had useful information such cast and credits, year of release, synopsis, running time, format (35mm/VHS), Distributor locally (Col-Tri/BIG) as opposed to international distributor (Beyond International Group), Censorship (PG) and references. Importantly it contained Awards: AFI awards, Best Actress (Lisa Harrow); Asia Pacific Film Festival, Seoul 1992, Best Supporting Actress (Kerry Fox); Australian Cinematographers Society Awards, 1992, Highly Commended (Geoffrey Simpson), Feature Productions, Cinema Section; Film Critics Circle of Australia, 1993, Best Original Screenplay (Helen Garner), Best Supporting Actor (Bill Hunter).
On-line presence in the Web literature
In this area of reviews there were a number of useful web sites, however some of the information was unreliable and very general in nature. Other information related to reviews included cast and credits, synopsis, and U.S. distributors. There was not much in the way of Australian Web sites, with mainly U.S. information available. The sites visited included:
http://kali.murdoch.edu.au/~cntinuum/units/h231/h231home.htm.
The Australian Cinema Home Page was the starting point to enter Researching an Australian Classic Film, which then took you to a number of U.S. web sites (film databases).
http://allmovie:com/amg/amg_root.html.
This address was the 'All Movie Guide' (a film database from the U.S.) On entering this web site I was able to enter in my film title and come with information such as cast and credits, synopsis, ratings, the previous films of the cast members and the genres they had undertaken previously. For example Kerry Fox's (Vicki) previous movies include Saigon Baby (1995), Shallow Grave (1994) and Last Tattoo (1994). Her genres include drama, comedy, true story
http://us.imdb.org./blurb.html
This address was the U.S.A (film guide). Like the All Movie Guide it contained film ratings, cast and credits, U.S. distributors and Technical information and reviews.
A general search on Netscape using the film's title came up with the following addresses:
http://www.inform.umd.edu:8080/EdRes/Topic/Womenstudies/Film
Reviews/Last-days-chez-nous-fuchs.
This web site contained a review of the film, but without an author's name.
http://www.film.com/film/reviews/archives/Keogh1992/chez.nous.keogh.html.
This web site contained a review of the film entitled 'Sweet and Sorrowful Slice of Life' (Last Days of Chez Nous) by Tom Keogh (1992).
http://www.inform.umd.edu:8080/EdRes/Topic/WomensStudies/Film
Reviews/chez-nous-mcalister.
This was web site contained a review, ' The Last Days of Chez Nous ' by Linda Lopez McAlister. ' The Women's show '. WMNF-FM, Tampa, Florida. July 31 1993. Copyright 1993.
http://www.funet.fi/pub/culture/tvtfilm/reviews/L/LAST_DAYS_
OF_CHEZ.NOUS.1834
This was a review of ' The Last Days of Chez Nous ' by James Berardinelli. Copyright 1993.
Overall there was a average amount of material on my film. The electronic databases were most useful, particularly the CD-ROM material. Film International Index gave a lot of information and was very easy to access and use. Within the Australian context APAIS was likewise very easy to access and use. Using the Film Literature Index and International Index to Film Periodicals (hardcopy) on the other hand was tedious and time consuming. Informit (Australian Feature Films) gave basic information and more importantly international and local awards won.
Finally the Internet was disappointing. Much of the material seemed very general and of low quality. Searching on such a vast network was very difficult without specific addresses. The Australian Cinema home page was useful as a starting point, however the Oz film site was not used as you could not enter a search on your film title. It was very time consuming searching through screen page after screen page of material, you really needed a search function. If a framework of addresses could be followed then perhaps searching would be more fruitful. Overall most web sites were U.S. in origin and it would have been nice to have more Australian sites/addresses. Obviously the Oz Film site is addressing this problem. Overall, I thought the amount of material I found on my film was about right. Especially considering Australian cinema is a medium sized cinema and not the dominant product.