An Incident at Ravens Gate
Rolf de Heer

Katherine Barrett

Production details
Release Date
August 13th 1988
Production Company
Aquabay
Dist. Guarantee
Hemdale Holdings for International Flim Management
Director
Rolf de Heer
Producer
Marc Rosenburg
 
Credits
Executive Producer - Antony Ginnnane
Script - Marc Rosenburg
(Original Screen Play - James Micheal Vernon)
Camera operator - Andrew Lesnie
Cinematography - Richard Michalak
Editor - Suresh Ayyor
Production Designer - Judith Russel
Music - Graham Tardif, Roman Kronen
Sound- Peter Smith, James Currie
Costume Design- Clarissa Patterson

Cast

Steven Vidler (Eddie), Celine Griffin (Rachel), Richie Singer(Richard), Saturday Rosenburg (Annie), Vincent Gil (Felix), Terry Camilleri (Skinner), Max Cullen(Taylor), Peter Douglas (Bruce), Ernie Ellison (George), Brian O'Connor (Bill), Sylvia Thiele (Kate), Paul Philpott (Pinhead), Max Lorenzin (Weasel), Phil Bitter(Des).

Bibliography

Interview with Producer

Kaufman, T. 1989, 'Long wait for Raven's Gate', Film News, Apr., no. 3 pp. 10.

Material drawn from Newspapers, Journals & Books

British Flim Institute, 1991, Sight & Sound: Video Release, Dec., vol 1,no. 8, pp. 58.

Cowie, P. 1989, Variety International Film Guide, Tantivy Press, London. p 84.

Cowie, P. 1990, Variety International Film Guide, Tantivy Press, London. p 78.

Hall, S. 1992, Australian Film Index - A guide to Australian Feature Films Since 1900, Thorpe, Melbourne.

Hawker, P. 1990, 'Incident at Raven's Gate', in Australian Flim 1978-1994, ed. S. Murray, Oxford University Press, Sydney, pp. 278.

Hutak, M. 1989, 'Incident at Raven's Gate', Film News, Apr., no.3, pp. 12.

Moore, S. 1990, 'Eternal Childhood still', New Statesman & Society, Mar. 23, vol. 4, pp.46.

Murray, S. 1994, Australian Cinema, Allen & Unwin, Sydney, pp.177.

O'Regan, T. 1996, Australian National Cinema, Routledge, London, pp. 171, 207, 262.

Reid, A. 1986, 'An Incident at Raven's Gate', Encore: Production Report, Jun., vol. 4, no. 9.5, pp. 24.

 

Reid, A. 1987, 'An Incident at Raven's Gate', Encore: Production Report, Jun., vol. 5, no. 9.4, pp. 21.

Strick, P. 1990, 'Encounter at Raven's Gate', Monthly Film Bulletin, vol. 57, no. 675, pp. 103.

Stratton, D. 1988, 'Incident at Raven's Gate', Variety, Aug., pp.17.

 

On-line Sources

Australian Feature Films 1896-1995, Interactive CD ROM, Mudoch University library.

British Film Institute, Film Index International 1993-1997, Software Copyright, Chadywyck-Healey Ltd,

Description of Information Collection

Limited only to texts published after 1987, I commenced my search for information on Incident at Raven's Gate (De Heer, 1988) in the cinema section of closed reserve. O'Regan (1996, p. 171, 207, 262), made mention of the flim in the unit text Australian Cinema. The film is also briefly discussed by Murray (1994, p. 149, 171) in terms of de Heer's direction approach. There was nothing was written in The Imaginary Industry - Australian film in the late 80's (Dermody & Jacka, 1988), or A Century of Australian Cinema (Aust Film Institute, 1995).

I preceded by investigating the film's presence on on-line web literature. There was nothing found on the film on Film Sites http://kali.murdoch.edu.au/~cntinuum or http://www.cinemedia.net. However, details of cast, credits, synopsis, as well as nine other bibliographical review details did appear under 'film title' search of the Film Index International on-line data base. I also searched under 'personality' to see what films de Heer had directed prior to and preceding Incident at Ravens Gate. From the six films listed I examined each one to see if there were any cast or production crew members common to 'Incident'.

On the same data base under Australian Feature Films from 1896-1995 information on the film was shown to exist on Interactive CD ROM. This source provided a more detailed plot and character description, and stated the film's running time as 5 minutes longer than the Film Index International. References for two articles written in Film News were also listed. I also did a search under 'producer' for Marc Rosenburg however nothing came up. And again looked under film titles such as The Tale of a Tiger, Dingo and Bad Boy Bubby to gain more understanding of de Heer's other known works. No information on release dates or box office figures were provided in either the data base or CD ROM sources.

I then checked the Murdoch University Library catalogue to see if the bibliographies from the on-line data base or CD ROM were available in hard copy. Copies of reviews in Film News, Monthly Film Bulletin and Variety were shown to exist. Stratton's Variety review which was available on micro film provided the films exact release date however, also gives an incorrect film running time of 93 minutes. The two citing from Encore only provided a brief paragraph of credit information as did Sight and Sound (a 1991 British publication) make note the film only as a video release.

City Limits, Time Out and Star Burst that contained reviews were not available at Murdoch Library. The August 1987 edition of Encore that contained a two page Location Report on the film was missing from volume five and only one of the citations from the CD ROM appeared in Film News. This article by Kaufman turned out to be an interview with Rolf De Heer (director) and Marc Rosenburg (producer) discussing the film's release. The other short review by Micheal Frost that was supposed to appear on the same page was no where to be seen.

My next place of search was in the Resource Center where in Australian Film 1978-1994 (ed. S, Murray, 1995) I was able to find a detailed review by P. Hawker on page 278. In her article she mentions was a rave review by David Stratton in the Sydney Morning Herald. This article I presume would have been published around the time of the August 13th 1988 Film Australia press release. Hawker also referenced with the same Kaufman and mystery 'short review' by Andrew Frost cited from page ten of April 1988 edition of Film News.

I then checked the 1989 edition of Film Literature Index which finally gave the correct page number and author for this incorrectly cited review. The 1990 edition of this same film index cited a review by British Film Critic S. Moore. The article in the Mar. 1990 edition of Statesman & Society discusses Incident at Raven's Gate in relation to other Australian films releases of the same time period. Also, a very useful source was The Australian Film Index - Australian Feature Films since 1900 (Hall.1992). From this index I was able to look up the past work of each the main actors and crew members of Incident at Ravens Gate.

With still no sign of any box office figures, I checked both 1989 and 1990 editions of Film Literature Index under grosses. There was a listing for Australian grosses in Variety April 25th 1990 on micro film, however the takings for Incident at Raven's Gate did not appear. My last attempt to find these figures was to look through the 1988, 89 & 90 editions of Cowies International Film Guide. The 1989 issue David Stratton (ed.) listed the film's credits and gave a brief synopsis and in the 1990 issue he gives a short review. However, no box office figures were provided, indicating that the film was probably had a video and selective theatrical release. There is also no mention of Incident at Raven's Gate as winner of any Australian Film Awards in either issues.

 

 

Part 2: Critical Review of Film and its Literature

The film Incident at Raven's Gate (1988) begins at the inexplicably devastated Cleary homestead property known as Ravens Gate somewhere in South Australia. Police sergeant Taylor (Max Cullen) has been sent to the house to investigate the theft of a trophy. He is later joined by the rather sinister Hemmings (Terri Camilleri), who claims to be an Astrophysicist from some special police branch. The film then goes back five days earlier to show the inhabitants of Ravens Gate. Eddie (Steven Vidler) is out on parole and in custody of his hydroponics obsessed farmer brother (Richard) after spending time in prison. Richard is married to Rachel (Celine Griffin), a bored house wife attracted to Eddie who is initially more interested in the local barmaid Annie (Saturday Rosenburg). Annie is also the lust of the opera buff cop, and town nut case Felix (Vincint Gill).

As the aliens make themselves felt (although they are never seen) these tensions intensify, causing the world of nature upon which they all depend to become illogical. Simultaneously, suppressed domestic tensions are also played out. Eddie has a fight at the local pub and is attacked by the normally friendly dog. Felix kills Annie when she rejects his invitation to the opera. Eddie succumbs to Rachel in the shower and Richard breaks into a mad homicidal frenzy. I felt that for this climax which focused on personalities reaching their limits was to be truly successful, there needed to be more development of emotional alignment between the lead characters and the audience.

The drama then continues with an invasion of bright light and noise descending on the property. Eddie and Rachel manage to kill Richard, survive the destruction of the farm house escape together. After Dr Hemmings shoots sergeant Taylor on the highway he then picks up the exhausted couple, and returns them to the completely restored Cleary homestead. There is also a convoy of trucks passing through the homestead which is also unexplained. I felt that these holes in the plot that are so big actually work to distract from the mood and main concern of the film rather than intensify it (ie the issue of the missing trophy). However, the overall success of the film can be attributed to the indirect acknowledgment of the alien forces and the creation of mystery and tension through the exceptional use of image.

The existential themes presented in Incident at Raven's Gate of mis-fit individuals struggling to achieve their potential and become free, are a recurring element in de Heer's films. de Heer is an Australian director known for using a non-mainstream style of film direction. As demonstrated in Incident at Raven's Gate a more European approach is used, the driving force of the narrative being character relationships and emotional turmoil of individuals. This more 'art cinema' style of approach can also be seen in his work prior to and subsequent to Incident at Raven's Gate.

His 1985 film Tale of a Tiger is about a young boy with a passion for flying who restores an old tiger moth. The Boy fulfils his dream by gaining a flight in the moth, and in turn gaining the acceptance of the local gang. Following 'Incident' was the French-Australian co-production Dingo (1989). A story about a boy from the outback who grows up to relive a dream to play with his jazz idol in Paris. The focus is on relationships of a cross-cultural nature between an Australian and an American. the Australian landscape is used to contrast to the jazz world of Paris (Murray 1994: 149) In de Heers festival/cult hit Bad Boy Bubby (1993) a man held captive by his evil mother for the 35 years of his life. When he finally breaks lose and ventures into the outside he initially has problems but eventually succeeds and becomes a rock star. He then falls in love and lives happily ever after.

Not only are the themes of de Heer's movies recurring, so to are his production crew. If one examines the credits of de Heer's films from 1985 to 1993. What is revealed is the same writer, cinematographer, editor, sound mixer and art director have all worked in the production of his other films. - Tale of a Tiger-Writer- de Heer, DOP- Richard Mihalak, Editor- Suresh Ayar, Art Director- Judith Russel, Music- Graham Tardiff, Exec prod- Grahame Jennings. Dingo- Writer- Marc Rosenburg, Editor- Suresh Ayar, Art Director- Judith Russel, Costume- Clarissa Patterson, Mixers-James Currie (AFI sound award winner) & Peter Smith. Bad Boy Bubby- Writer- de Heer, Editor- Suresh Ayar(AFI best editor), Sound- James Currie, Music- Graham Tardif.

The lead characters of the cast are all relatively unknown with Incident at Raven's Gate being the first feature film for both female leads Celine Griffin and Saturday Rosenburg. Steven Vidler has played parts in small Australian productions such as Harbour Beat, Minnamurra, No Worries, Robery Under Arms and The Umbrella Women. The only productions Richie Sinner has been involved are Cappuccino, Two Brothers Running, with a minor role in the box office hit Crocodile Dundee. Max Cullen and Vincint Gil on the other hand are more familiar faces on the Australian cinema landscape. With Gill having had roles in such films as Ghosts of the Civil Dead and Mad Max. And Cullen having had parts in at least a dozen other small Australian Features including My Brilliant Career.

At time of Incident at Raven's Gates' release there appears to be two distinct positions of critical opinion. For critics judging the film in terms of its 'festival' or 'art cinema' potential, it is given rave reviews. In David Stratton's Variety review he expresses the opinion that the power of the film lies in what is left up to the audiences to imagination, with the lack of plot explanation working to intensify the mystery and devastation plaguing Ravens Gate. He also commends the film for its successful script, character performance, sound, lighting and cinematography. Proclaiming that 'Incident' is.... 'the finest little suspense pic made since the last Mad Max'.....he also aligns the film with other Australian texts.

Reviews by Micheal Hutak and Phillipa Hawker share a similarly positive opinion. Hutak again draws parallels to Mad Max and declares the film a success on all technical, dramatic and intellectual levels, despite its low budget. Hawker praises the film for its ability to combine genres, commending de Heer for handling the transitions between relationship tension and supernatural horror. As did O'Regan (1996: 207), recognise 'Incident' integration of genres by describing it as a 'psychological sci-fi film'. She also mentions that the film didn't get the reviews or release it deserved.

On the contrary, critics judging the film in relation to 'mainstream' Hollywood conventions are damning for the films lack of narrative coherency and hence lack of mainstream audience appeal (although its technical virtuosity still always gets a mention). This opinion is exemplified by Phillip Strick's closing comment on his Monthly film Bulletin review.

Despite compensations offered by Richard Michalak's admirably -if often intrusively- fluent camera, it is difficult to imagine that any audience will stay the course of the film long enough to give such questions any thought.

This potential problem of lack of audience appeal is discussed in Kaufman's article 'A Long Wait for Ravens Gate'. In her interview with producer Marc Rosenburg it appears that during shooting and editing there were serious disagreements about the films script, structure and conflicting ideas about the audience for the film. He explains how both the distributor (Hemdale) executive producer (Ginnanane) wanted to bring the film out as a video release only. In their opinion if the film was to be financially viable, the plot had to be changed so the audience knew the film was about aliens much earlier on. de Heer and Rosenburg were adamant that the original, more 'art cinema' style of plot was more effective and had to stay. This did in fact result in problems trying to sell the film to both Australian and U.S. distributors. However, the film was sold at a good price in the U.K.and was given a fifty screen theatrical release in August of 1988.

The previously mentioned problems can be attributed to Australia's position as a medium sized English language cinema. The apprehension of the exhibitors to take on the film is due to the fact that Incident at Ravens Gate is in many ways 'unconventional' when compared to the dominant Hollywood mainstream. Not only just in terms of its plot structure that leaves many questions unanswered, but also because it boasts no 'big-name' actors and has a totally unoriginal story line (ie. aliens descending on earth and causing havoc on planet Earth).

What the 'mainstream' audience also demands is a much higher standard of imaging especially for films of the science fiction genre. Australia is a highly saturated Hollywood cinema market. As audiences have been repeatedly exposed to U.S. productions such as Star Wars, special effects are now regarded as a key attraction (O'Regan, 1994: 84). Although de Heer's' ability to create of tension through stylistic manipulations of sound, lighting and image is to be commended. To the mainstream audience, conditioned to appreciate high budget special effects, these elements may not be recognised. 'Incidents' financial constraints also meant that there also wasn't the funding to promote the film. This is also a great disadvantage when placed in relation to the major Hollywood releases who's marketing budgets are massive.

As an English language cinema in direct competition with Hollywood, de Heer like many other Australian or 'second world' film makers (i.e. Engilsh language cinemas in direct competition with more dominant Hollywood or British cinemas) has produced Incident at Ravens Gate by using elements to highlight our national identity. What can be seen in is the use of typically National images, symbols and myths to position the film as undeniably Australian (O'Regan, 1994: 98). The remote 'outback' bush setting and the pub a specifically male domain full of drunken local yobbo's being the only site where community interaction takes place. The division between gender is emphasised through male masculinity and female subservience is also a stereotypical social trait presented in Australian films (O'Regan, 1994: 88).

Incident at Ravens Gate epitomises Australia's position of geographical and social isolation and hence a demonstration of our predicament as an antipodal cinema (O'Regan, 1994: 106). This is not only reinforced visually, with wide panning shots of the uninhabited and infinite Australian landscape, but also through the narrative and dialogue. Both lead characters are in a sense prisoner to this harsh environment as they are both committed to the farming obsessed Richard. Rachel is committed through her marriage, and Eddie as an ex-con (also reinforcing the stereotype of Australia's convict past) is committed to serving his parole working under Richard's custody. At one point in the film they both confess that if they had the chance they'd "be on the first plane to America".

The physical appearance of these two characters also conflicts to the rural Australian stereotype. They in a sense are a personification of Australia's relationship to America of being so culturally close yet geographically so far away. Rachel with her jet black cropped hair goes about her daily farm chores in a sexy red silk slip dress with freshly applied lipstick to match. And Eddie sporting his post-punk look with bleached flat top and reflecto shades look decidedly urban. The fact that they both look like they come from another world works to intensify their isolation in the back drop of the Australian landscape. Eddie's ability to work out that something was not quite right before any of the locals, and then by teaming up with Rachel to out wit the alien forces is also effective in enhancing this juxtaposition.

Although 'Incident' does revive many Australian social texts, at the same time it also rejects many Australian myths. As a national cinema the Australian identity often reflects charm, innocence and humanism. Films such as the Man from Snowy River and Crocodile Dundee being examples of this. When comparing Incident at Ravens Gate to a Australian films of this nature it can be seen that Australia's antipodal predicament is presented in a negative way. 'Incident' certainly does appear as a much darker more 'paranoid' genre of Australian cinema (O' Regan, 1994: 262). I wouldn't imagine that the folk's of Ravens Gate would do much to promote Australia's image as a tourism destination overseas. This is summed up by British film writer Suzanne Moore-

What we encounter at Ravens Gate might tell us about present Australia apart from the fact that it is full of UFO's, Verdi-loving Police-men and sexually frustrated farmwomen is any one's guess ('Statesman & Society' Mar, 1990).

It can be seen that Incident at Ravens Gate draws on many international components. It has elements of science-fiction and horror of Hollywood, as well as having elements of psychodrama and film noir of the European Cinema. While at the same time bringing in stereotypically elements Australian social life and past Australian film texts such as Mad Max. This hybridised approach used by de Heer is an example of how the identity of Australian film is a combination of both the local and the international, simultaneously. This diversity is represented not only on the screen, this cultural plurality also exists 'behind the camera' with the Dutch born Australian film director Rolf de Heer (O' Regan, 1994: 322).