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The Well

Critical Review and Bibliography

By Rochelle Shier

Tutor: Garry Gillard

Tutorial: Friday 12:00 - 12:50pm

FILM INFORMATION

WELL, THE (MA)

(Australia)

CAST: Miranda Otto, Pamela Rabe, Paul Chubb, Frank Wilson,

Steve Jacobs, Genevieve Lemon

DIRECTOR: Samantha Lang

PRODUCER: Sandra Levy

SCRIPT: Laura Jones (adapted from the novel by Elizabeth

Jolly)

CINEMATOGRAPHER: Mandy Walker

EDITOR: Dany Cooper

MUSIC: Stephen Rae

PRODUCTION DESIGN: Michael Philips

RUNNING TIME: 102 mins

AUSTRALIAN DISTRIBUTOR: Globe

AUSTRALIAN RELEASE: July 31, 1997

The film cost $3.4million to make and was sold to 38 countries

THE WELL

BIBLIOGRAPHY

Reviews:

Adamson, Judy: Review of The Well, The Sydney Morning Herald, 07/08/97

Bunbury, Stephanie: Downunder Cream Rising to the Top, The Age, 19/05/97

Creed, Barbara: A Tale of Death and Desire, The Age, 31/07/97, www.parkhouse.com.au

King, Greg - www.netau.com.au/gregking/f382wel.htm

Stratton, David, www.sbs.com.au/movieshow/REVIEWS

www.urbancinefile.com.au/scripts/cinefile/Reviews

Interviews:

Hunter, Tim; Courtesy Cinema Papers Issue 116, May 1997

Schembri, Jim; Watching Life; making films, The Age,09/08/97

Urban, Andrew L.; Secret and Lies Down The Well, Cinefile Interviews Archives,

www.urbancinefile.com.au/scripts/cinefile/Reviews Archives.idc?Article ID=332

Journal Articles

AFC News 168/69 , www.afc.gov.au

As shown much of my research was done on the Internet where I found copious amounts of information in a quick and effective way. Finding information in the Library would have taken some time, perhaps finding no information at all. Not surprising, The Well is a film, even after all its critical acclaim, is relatively unheard of.

I first found it a little difficult finding information on the web when searched for 'The Well', but moving through the AFC sites and AFI sites gave me more that adequate links and information about this film.

Critical Review of The Well

By Rochelle Shier

Combining the celebrated talents of Pamela Rabe and Miranda Otto, The Well is a haunting tale of two very opposite women living together on a farm in outback Australia who are torn apart by desperation and greed.

The Well is director Samantha Lang's first feature film with which she has deservedly received much acclaim, both in the Australian and International film industries.

Based on Elizabeth Jolley's novel by the same name and adapted to the screen by film veteran Laura Jones, (Portrait of a Lady), The Well received critical praise at the Cannes film festival in 1997 as Australia's official entry.

The film captures the strange and lonely world in which Hester and Kathy are sharing by using the talents of Mandy Walker, (Love Serenade) as cinematographer, with her abilities to create mood from the landscape that are impeccable.

Hester, (Rabe) a lonely farm woman caring for her sickly father hires Katherine, (Otto) to help her around the house. Hester is a submissive and repressed character and the obvious isolation from the world results in her clinging to the friendship of the young, full spirited Katherine.

Unsatisfied with a world of simplicity and isolation, Kathy packs up and leaves the farm much to Hester's distress.

Rabe's powerfully poetic performance of Hester exposes the character's complexities of desperation, vulnerability, jealousy and obsession.

Kathy returns to the farm and stays as Hester's companion, but the death of Hester's father proves Kathy to be a dubious character.

Intent that Hester sell her inherited farm, Kathy entices her with dreams of travelling to Europe with the money, and Hester absorbed by the youth and vitality of Kathy agrees to do so.

Like all good psychological dramas, something goes terribly wrong one night after a dance party on quiet country road, late at night when Katherine hits a man with the car and kills him.

Hester intent on keeping it quiet to spoil no plans for her and Kathy, throws the man down the well which has its own symbolism- the abyss, the black hole, a grave, the unknowing.

On arriving home they find the inherited money is gone.

It is suspected the man they have killed is the local robber who has taken with him down the well, the funds of their dream holiday.

Following this incident Kathy appears to be mentally unstable claiming that the man is alive and in love with her.

Are they illusions from being racked with guilt?

Does she have sinister intentions of manipulating Hester, or is he still alive?

The pair becomes completely distrustful of one another and so the relationship destruction begins.

The film is awash ambiguities that are expressed dramatically through the cinematic vision of Lang and through the performances of Otto and Rabe.

The film and its lead actors were all nominated for AFI awards, Rabe taking Best Performance in a leading role

Critical Uptake of The Well

According to Judy Adamson in her review in the Sydney Morning Herald 07/08/97, The Well was being hailed as a work of genius and was well received at Cannes in 1997. Adamson herself, dubious of the first time feature director, has herself joined the many and adds her praise to the film. She felt the production was equal to that any other fine Australian director.

Barbara Creed in her review of the film for The Age 31/07/97 found some criticisms. Creed felt the relationship between the two women lacked exploration particularly compared to some other women centered films released around the same time such as Sister my Sister, A Judgement in Stone and Butterfly Kiss.

Creed notes that the film fails in attempts to express other dimensions of the relationship that of emotions and in sexuality. A particularly interesting point she makes is her query on the symbolic function of the dead male, which the film leaves short of attacking.

The film falls into genres of the women centered, thriller, drama and sometimes melodrama. Creed perhaps feels that combining the genres has left them in half hearted efforts of expression in the film.

Greg King reviews the film on the web site www.netau.com.au and gives it two thumbs up. He comments on Lang's effective and slick direction and pours lavish praise on the performances of Rabe and Otto defining Rabe and perhaps one of finest actresses.

King comments on the use of landscape in the film captured by Mandy Walker and also in her close-ups that provide an unsettling feeling.

David Stratton from the SBS Movie Show says, "two indelible performances in a bold, impressive debut".

FESTIVALS

The Well was chosen among other Australian films for the 50th annual Cannes Film Festival official competition in May 1997
Along with the film The Castle, The Well was a success at the Sundance Film Festival, January 1998
Australian Film Week, Vienna - March 1998
Edinburgh International Film Festival - August 1997
Stockholm International Film Festival - November 1997
Creteil Film Festival de Femmes - April 1998
Seattle International Film Festival - May 1998
Australia Week Festival in Dublin, January 1998
"Attendances this year were fantastic, with sellouts for The Castle, Doing Time for Patsy Cline, Cosi and The Well."

Mark McCaffrey of Busqueda Box on Festival in Dublin

Cast and Crew Subsequent or Prior Work

Director:

Samantha Lang- DOB: 08/12/67

POB: London, England, UK

'The Well' is Ms Lang's debut feature film.

Filmography:

Well, The (1997)
Twisted Tales(1997/I) (TV)
(Segment- Third Party)

Third Party (1996) (TV)
Audacious (1995)
Out (1995)
God's Bones (1993)
Awards:

Nominated AFI Award 1997
Best Achievement in Direction for The Well (1997)

Nominated Cannes Film Festival Golden Palm Award for The Well (1997)
Scriptwriter:

Laura Jones

Filmography

Shipping News, The (2001)
Angela's Ashes (1999) (screenplay)
Oscar and Lucinda (1997)
Thousand Acres, A (1997)
Well, The (1997)
Portrait of a Lady, The (1996)
Angel at My Table, An (1990)
High Tide (1988)
Awards:

1998 Nominated AFI Award Best Screenplay Adapted from Another Source for: Oscar and Lucinda (1997)
1997 Won AFI Award Best Screenplay Adapted from Another Source for: Well, The (1997)
1996 Won Byron Kennedy Award
1987 Nominated AFI Award Best Screenplay, Original for: High Tide (1988)
Golden Satellite Awards Year Result Award Category/Recipient(s) 1997 Nominated Golden Satellite Award Best Motion Picture Screenplay - Adaptation for: Portrait of a Lady, The (1996)

Cinematographer:

Mandy Walker

Filmography:

Well, The (1997)
"Raw FM" (1997) TV Series
Love Serenade (1996)
Life (1996)
Parklands (1996)
Eight Ball (1992)
Return Home (1990)
Awards:

1997 Won Australian Cinematographers Society Award of Distinction for Fictional Drama Shorts - Cinema & T.V. for Parklands, 1996
1997 Nominated AFI Award for Best Achievement in Cinematography for The Well, 1997
Producer:

Sandra Levy

Filmography

Secret Men's Business (1999) (TV)
"Difficult Woman, A" (1998) (mini) TV Series
"Big Sky" (1997) TV Series
Well, The (1997)
Big Sky (1997) (TV)
Police Rescue (1994)
Darlings of the Gods (1991) (TV) (executive)
"Police Rescue" (1990) TV Series
Act of Betrayal (1988) (TV) (executive)
Edens Lost (1988) (TV) (executive)
High Tide (1988)
"True Believers" (1986) (mini) TV Series
Awards:

1997AFI Award Nomination, Best Film for The Well

1987 AFI Award Nomination, Best Film for High Tide

Leading Actor:

Pamela Rabe

Filmography:

Well, The (1997) .... Hester Harper
Paradise Road (1997) .... Mrs. Tippler
"Frontier" (1997) (mini) TV Series .... Rosa Campbell Praed
Lust and Revenge (1996) .... Obnoxious Woman
Cosi (1996) .... Ruth
"Bite, The" (1996) (mini) TV Series .... Samira Nazib
"Mercury" (1996) TV Series .... Clare Bannister
Vacant Possession (1995) .... Tessa
Sirens (1994) .... Rose Lindsay
"Seven Deadly Sins" (1993) (mini) TV Series
Leaving of Liverpool, The (1992) (TV) .... Mrs. Lang
Against the Innocent (1989) .... American woman
Nancy Wake (1988) (TV) .... Madeleine
Single Life, A (1986) (TV) .... Margaret Bennett
Awards:

1997 Won AFI Award Best Performance by an Actress in a Leading Role for The Well
1997 Won Stockholm Film Festival Best Actress for her role in The Well
Leading Actor:

Miranda Otto

Filmography:

What Lies Beneath (2000)
Jack Bull, The (1999) (TV) .... Cora Redding
Kin (1999) .... Anna
Thin Red Line, The (1998) .... Marty Bell
In the Winter Dark (1998) .... Ronnie
Dead Letter Office (1998) .... Alice
Doing Time for Patsy Cline (1997) .... Patsy
True Love and Chaos (1997) .... Mimi
Well, The (1997) .... Katherine
Love Serenade (1996) .... Dimity Hurley
Sex Is a Four Letter Word (1995) .... Viv
Nostradamus Kid, The (1993) .... Jennie O'Brien
Last Days of Chez Nous, The (1992) .... Annie
Girl Who Came Late, The (1991) .... Nell Tiscowitz
... aka Daydream Believer (1991)
Heroes II: The Return (1990) (TV) .... Roma Page
13th Floor, The (1988) .... Rebecca
Initiation (1987) .... Stevie
... aka Zoomstone (1987)
Emma's War (1986) .... Emma Grange
Awards:

1998 Nominated AFI Award Best Performance by an Actress in a Supporting Role for In The Winter Dark.
1997 Nominated AFI Award Best Performance by an Actress in a Leading Role for The Well
1992 Nominated AFI Award Best Actresss in a Lead Role for The Girl Who Came Late, 1991
1992 Nominated AFI Award for Best Actress in Supporting Role for The Last Days of Chez Nous, 1992

Information collaborated through www.netau.com.au/gregking/f382wel.htm

PRODUCTION OF 'THE WELL'

The Well was created over an eight year period and received support from the Australian Film Commission during the development period and in the outset through script development funding. Shine directed by Scott Hicks is another film that received this kind of funding over such a long period of time.

The Well's success reaffirmed its funding allocation that was expressed in an article by the AFC,

"…Lang's first feature film demonstrates the value of recognising and supporting originality, diversity and creative risk-taking and the need to do so over many years that it often takes projects to develop and find the creative team which leads to financing."

www.afc.gov.au

On a more general scale, the total production value of feature film and independent television drama in Australia for 1996/97 was $561 million compared to 1995/96 of $499 million. Over the 1996/97 period, 39 feature films were made at a total production cost of $249 million.

Obviously, with a relatively small film industry, only a number of proposed films can be supported by the AFC. In 1996/97, from 1108 applications AFC supported only 227, or 20 per cent, The Well being part of this per cent.

The Well received funding from the Australian Film Finance Corporation, Southern Star Film Sales, The Globe Film Co., the Australian Film Commission and the New South Wales Film and TV Office.

An article in AFC News Number 168/69 details the earnings of Australian films in 1997 which is 5 per cent ($28.3 million) of the national box office of $583.9 million.

The film was adapted to the screen by Laura Jones from a novel of the same name by Elizabeth Jolley. It was Jones and the film's producer, Sandra Levy who started the project after discovering the novel. Once the screenplay was written they asked Samantha Lang to direct, who had previously only done short films, much like Jane Campion's beginnings.

The screenplay had gone through several drafts, but when Lang came on board she went through them and found some original scenes worth keeping. The fact the film was set in the country was a little daunting for Lang, who has never experienced country living. Trying to find a psychological basis for the film's two female characters, Lang visited the Country Women's Association to meet farmers and people of that nature.

The decision to invite Mandy Walker as the film's DOP was Samantha Lang's. Together they researched to find a style for the film. Walker suggested black and white would have a great effect, but Lang insisted that colour was necessary. In agreement they used a bleached bypass process which strips everything of its colour, but certain colours. It was important to Lang for images to appear like photographs, so that in freeze-frame, each image would have its own meaning.

Lang also did the casting for the leading roles of Hester and Katherine. In an interview with Tim Hunter for Courtesy Cinema Papers, Lang describes her vision of the two characters. She felt Hester was a character from the 30's and Katherine from the 80's. She initially was looking for a girl of 15 years to play Katherine, but only Miranda when auditioning could achieve the complexities of the role. Lang cast Rabe as Hester for her acting talents, describing her as brave, intelligent who allows Hester her oddities and peculiarities.

The music by Stephen Rea was done earlier on. There was conflict of interest between the producer (Levy) and Lang as discussed in Hunter's article. Levy loved the classical, but disliked Lang choice of pub band music, played by Fur. It was more important to Lang that the music resonates the film, not just make a good CD.

The film actually cost $3.4million to make and was sold to 38 countries

The manager of Southern Star, Rhys Kelly who financed The Well says in an article by Stephanie Bunbury for The Age,

"After the screening we had a lot of relieved buyers. The Cannes audience can be merciless, but Samantha had a standing ovation and there were no walk-outs. That has a tremendous effect on Sam's profile, but it has spin -off benefits for us all. It really puts you out there."

When considering The Well in relation to Australian national cinema as a medium sized English language cinema is quite obviously a festival flick and a far cry from the 'ocker film. Lang has followed in the steps of her counter-part Jane Campion by starting with short film, but has moved to feature films of a haunting and poetic nature and more clearly, about the relationships of women. It has a distinct European style of using abstract imagery and being an art-house film was screened at Cinema Paradiso only in Western Australia.

Like the film Sweetie, it captures the Australian landscape in a way that makes the landscape itself almost a character in the film. It is this use of this cinematography that again confirms a 'prestigious' or 'festival' type film. The 'freakish' characters of Kathy and Hester enhance the quality of being an Australian film.

The success of The Well in 1997 has paved the way for Australian Film in the International Market in a positive way. It has helped the Australian Film Industry in becoming a well-respected and focal point for the many talented up and coming film-makers, actors and scriptwriters.