Laura Smith 2004
Critical Review and Bibliography
Part 1: Film Information
Title: Dance Me to My Song
Format: 35mm
Screen Ratio: 1.85
Country of Production: Australia
Stock: Kodak Eastmancolor
Running Time: 102 minutes *
Sound: Dolby Digital
Year: 1997
*Note- there seems to be a discrepancy in actual run-time ranging from 101-107 mins in various distributors sites and reviews
Official synopsis (official website and video cover Australia)
What do you do when you're stuck in a fucking wheelchair and you can't talk except using a voice machine and your carer doesn't give a shit for anything except herself?
Sit round a lot, I suppose, talking to yourself.
What do you do when a man turns up and you fancy him except your carer does too the bitch and she steals him from under your nose cause she's not a fucking spastic?
You try and steal him back, of course...
A film for Heather Rose... by Heather Rose... with Heather Rose.
Principal Cast and Credits
THE PLAYERS
Julia- Heather Rose
Madelaine - Joey Kennedy
Eddie- John Brumpton
Rix - Rena Owen
THE TECHNICIANS
Music by
Graham Tardif
Edited by
Tania Nehme
Director of photography
Tony Clark
Art director and Makeup/ Wardrobe
Beverly Freeman
Casting
Audine Leith
Original screenplay by
Heather Rose - Frederick Stahl
Co produced by
David Wolfe Barry - Paola Corvino
Produced by
Domenico Procacci
Giuseppe Pedersoli
Written produced and directed by
Rolf De Heer
Funding:
Intra Films- Italy (representing the film internationally)
Strand/ new oz productions
Produced with the financial assistance AFC- Australian Film Commission.
Developed an produced with the financial assistance of SAFC- South Australian Film Corporation
Above Information sourced fromhtttp://www.vertigoproductions.com.au and the credits from a Video copy of Dance me to my song
Release Dates
France May 1998 Cannes Film Festival
Australia 22 October 1998
Spain 1 January 1999
France 28 April 1999
Finland 28 May 1999
Netherlands 5 August 1999
Belgium 25 August 1999
Hungary 11 October 1999 Titanic International Filmpresence Festival
Italy 19 November 1999
Singapore 13 January 2000
Information sourced from The Internet Move Database (IMDb) http://www.imdb.com/title/tt0154378/releaseinfo
FESTIVALS & AWARDS/ NOMINATIONS
*Awarded the 1998 Australian Catholic Film Award
*Film Critics Circle of Australia: Nominated for Best Original Screenplay, Best Actress (Heather Rose) and Best Supporting Actress (Rena Owen)
*Awarded the Premier's Literary Award Script Writing Prize, New South Wales
Cannes International Film Festival 1998
- Selected to participate in Official Competition
Brisbane International Film Festival 1998
- Voted second most popular film by festival audiences
Sydney International Film Festival 1998Melbourne International Film Festival 1998
- Voted second most popular film by festival audiences
Australian Film Institute Awards Screenings 1998
- Nominated for Best Original Screenplay & Best Supporting Actress (Rena Owen)
Edinburgh International Film Festival 1998
The World Film Festival, Montréal 1998
Telluride Film Festival 1998
Vancouver International Film Festival 1998
Semana International de Cine de Valladolid 1998
- Heather Rose awarded the Special Jury Prize
Saint Louis International Film Festival 1998
Fort Lauderdale International Film Festival 1998
London Film Festival 1998
Hawaii International Film Festival 1998
International Film Festival of India 1999
Santa Barbara International Film Festival 1999
Cleveland International Film Festival 1999
New York Film Buffs 1999
Palm Beach International Film Festival 1999
Istanbul International Film Festival 1999
Roger Ebert's Overlooked Film Festival, Illinois 1999
Singapore International Film Festival 1999
Washington International Film Festival 1999
Philadelphia Festival of World Cinema 1999
George Eastman House, New York 1999
Australian High Commission Film Festival 1999
"The Cinemateque" Montreal 1999
Wine Country Film Festival, Glen Ellen, California 1999
Huntington Inter. Film Festival, Long Island, N.Y. 1999
Bangkok Film Festival 1999
Rocky Mountain Women's Film Festival, Colorado Springs 1999
Calcutta Film Festival 1999
Jakarta International Film Festival 1999
Women In The Director's Chair, Illinois 2000
Bibliographical details of interviews with filmmakers :
At the time of the film's release (May 1998-Jan 2000)
4. http://www.palace.net.au/danceme/direct.htm
Details: Distributor 'Palace' website which has statements from Rolf de Heer and Heather Rose about the making of, and meaning of the film, Cast and crew details and image stills from the production. Also in its layout, marketing and information emphasises that the film is:
'A film for Heather Rose... by Heather Rose... with Heather Rose.'
Directors statement: Rolf de Heer; "There are two aspects of this film that give me pride above all the other aspects of it that give me pride. The first is that, knowing Heather, I see the character of Julia up on the screen, and the character of Julia is not at all like Heather. It is a performance, not a recording. The second is that part of the way through the film, I perceive the character of Julia quite differently than I do at the beginning of the film... she is just Julia, no longer the disabled character any more than Madelaine is the character with brown hair or Eddie is the character with the muscular body."
Heather Rose's Statement: "We felt that a movie about a woman like me could work, but it had to be a dramatic story, not another "disability" film. That's why we created Madelaine, who is a totally fictional character, but who does represent the very worst of all the worst carers rolled into one."
2. Frederick Stahl (31-10-02) Standing Room Only for a Thunderbolt in Wheelchair http://www.smh.com.au/articles/2002/10/30/1035683471529.html
"In 1995 she made the following entry in her computer diary:
"People see me as a person who has to be controlled. But let me tell you something, people. I am not! And I am going to make something real special of my life! I am going to go out there and grab life with both hands!!! I am going to make the most sexy and honest film about disability that has ever been made!!"
Subsequent to the film's release (2000 - 2004)
1. Rolf's Project dylab - 10th June 2003 http://www.vibewire.net/articles.php?id=1693Interviews
2. Fincina Hopgood, "Shooting to thrill: an interview with Rolf de Heer," Metro no. 137, 2003, p 36
www.findarticles.com/m0PAM/137/issue.jhtml
3. Gallery: sexuality and disability, representing Heather Rose: http://www.intimate- encounters.com.au/galleries/ds36.html
4. 'Screen model for low-budget winners' The Australian , 17-03-2004 , Ed: 1 - All-round Country , Pg: 012 , 821 words , FEATURES The Australian
5. http://www.abc.net.au/7.30/content/2003/s852967.htm Transcript of interview with Rolf de Heer on 7:30 Report, some mention of Dance me to my Song
6. Heather Rose Slattery, ISAAC 2000 Conference presentation/ transcript: www.words-plus.com/website/stories/Isaac2000.htm
Bibliographical details of reviews
Newspapers
1. 'DANCING TO THEIR OWN SONG' THE WEEKEND AUSTRALIAN , 17-10-1998 , Ed: 1 , Pg: R02 , 1843 words , REVIEW
2. 'Harrowing miracle' THE WEEKEND AUSTRALIAN , 24-10-1998 , Ed: 1 , Pg: R21 , 975 words , REVIEW
3. 'Salute to our BIG SHOTS' THE AUSTRALIAN , 26-10-1998 , Ed: 1 , Pg: 016 , 721 words , FEATURES
4. 'Dance Me to My Song'Stratton, David. Variety. New York: May 18-24, 1998. Vol. 371, Iss. 2; pg. 74, 2 pgs
Journals/ critical essays
1. Siemienowicz, Rochelle. Journal of Australian Studies, 'Globalisation and Home Values in New Australian Cinema', Dec 1999 p49. (Critical Essay), accessed 29/04/04, from the Gale Group Infotrac search database- http://0-infotrac.galegroup.com.prospero.murdoch.edu.au/itw (password required)
2. Hope, Cat. (B. Mus. Hons.)Hearing the Story: Sound Design in the Films of Rolf de Heer 2004, Published in Senses of Cinema, www.sensesofcinema.com/
Discussions in books
1. References to de Heer and films in context of Australian National Cinema: O'Regan, T. Australian National Cinema, Routledge New York, London, 1996, reprint 2001 pp. 39, 171, 174, 177, 195, 207, 262, 322, 352
2. Raffaele Caputo & Geoff Burton. Third take: Australian film-makers talk. Crows Nest: Allen & Unwin, 2002.
Details of on-line presence.
The online presence was quite strong although the critical reviews that appeared most relevant were predominantly subscription or accessed with password. Further, there is a lot of repetition when searching through and within different databases.
1. Official Rolf de Heer films site:
http://www.vertigoproductions.com.au/information.php?film_id=10&display=tech
2.Production Company and Distribution banner:
http://www.fandango.it/eng/storia.htm
http://www.palace.net.au/danceme/direct.htm
Other reviews, commentary and info:
3. http://www.urbancinefile.com.au/home/search.asp?a=34
4. Berardinelli, James. 1999 "Dance Me To My Song", accessed 28/04/04, http://movie-reviews.colossus.net/movies/d/dance_me.html
5. Chandler, Jan. Arts alive, 'Dance me to my song'- accessed 28/04/04 http://home.vicnet.net.au/~artsaliv/film_review/danceme.htm
6. Ebert Roger 'Dance Me to My Song'-By from the Telluride Film Festival (and) Williams,Evan. 'Dance Me to My Song' of The Australian, accessed 1/05/04http://www.ebertfest.com/one/dance__rev.htm
7. Pomeranz, Margaret and Stratton, David. 'Dance me to My Song', SBS: The Movie Show, accessed 1/05/04, from the 'movieshow' reviews linkhttp://www.sbs.com.au/movieshow/reviews.php3?id=128
8. Movie Review Query Engine http://www.mrqe.com/lookup?dance+me+to+my+song Details: - 3 reviews one url doesn't work, one in Dutch
9. Mair, Tracey. 'AUSTRALIAN FILMS SELECTED FOR CANNES', 23 April 1998 http://www.afc.gov.au/newsandevents/mediarelease/1998/release_161.aspx
10. Independent Film Magazine: http://www.if.com.au/tools/find.taf?fn=detail&id=0497
Details: about formation of fandango production company
10. http://parisvoice.com/99/may/html/cineview.cfm , Review
Note: These are only a sample of those available.
Methodology:
MED231 database; specifically 'The Tracker' critical review by Helena Sharp (2002) provided much information on Rolf De Heer and research methodologies.http://online.murdoch.edu.au/MED231s1/index.html
Website search engine Google. This site was used initially for gauging a sense of the materials available. Searches for general information required quickly were undertaken by inputting 'Rolf de Heer's Dance me to My Song', as well as 'Rolf de Heer' and 'Dance me to my song' separately. This pulled up reviews, Dance me to my Song production company, Vertigo Productions as well as databases of info such as IMB. Also searched for Heather Rose Slattery http://www.google.com/, accessed April/May 2004.
The Internet Movie Database; http://us.imdb.com/, accessed April/ May 2004, provided database information and links to general film information, biographies, reviews as well as generating related films.
Australia's Culture and Recreation database http://www.cultureandrecreation.gov.au/, accessed April/May 2004. A search for 'dance me to my song' + rolf de heer' matched 187 documents, 20 displayed (some repetition and redundancy noted)
Newstext -newstext.com.au- 35 documents matched the query "dance me to my song",
max. of 20 returned.
Proquest: http://0-proquest.umi.com.prospero.murdoch.edu.au/ 20 returned for Rolf de Heer, 26 for Dance Me to My Song. (most inaccessible- pay per view articles but can be searched for elsewhere with details)
Part 2: Critical Review of Film and its Literature
Synopsis
Dance Me to My Song addresses issues of obligation, accountability, need and love, as well as problematising and challenging the representation and 'treatment' of and towards disability through the conflict between a young woman with Cerebral Palsy, Julia, and her abusive, short-tempered and lonely carer, Madelaine.
Much of the film is set around juxtaposing these two characters in relation to their ability to express themselves and their differing relationships to Australian social institutions, as well as their different approaches to the value and belief system. Their conflict is established through showing their different needs and wants inherent in the arduous nature of their daily routine and then moves to revolve around their battle for the attentions of the mysterious yet sensitive character of Eddie. There are sub-characters and plots also, Madelaine's unfulfilling boyfriends and implied date-rape, Julia's lesbian sister Rix and her girlfriend taking Julia on drunken bouts and Rix's feelings of inadequacy for caring for Julia, Julia's interaction with the 'outside' world and the 'institution' and the problems of getting a decent carer threatening Julia's way of life.
The film resolves with Julia and Eddie reuniting after being separated by Madelaine but is still slightly ambiguous in regards to the future.
Critical analysis of main plot points and thematic concerns
As in his earlier films 'Bad Boy Bubby' and 'The Quiet Room', de Heer focuses again on a central character that succeeds in battling against totally inconceivable odds to overcome their victimisation. In 'Dance Me to My Song" there is the re-occurring theme of shortcomings and misunderstanding of language that is one of De Heer's thematic concerns in his auteurism.
"De Heer has been equally consistent in exploring the communicative difficulties underpinning troubled relationships. From the mute young protagonist of The Quiet Roomto the aphasic heroine of Dance Me to My Song, De Heer's films are frequently preoccupied with the profound inadequacy or outright failure of language as a means of communication." http://www.realtimearts.net/rt56/capp.html (accessed 1/05/04)
This concern comes through particularly with Julia's communication through the voice synthesiser; everybody around her (excepting trained, willing and ethical carers) have, to differing degrees, problems of 'hearing' or understanding both what and how Julia communicates- with different approaches such as asking to repeat or not trusting it. An example of this is upon Eddie and Julia's first meeting Eddie states, "I don't understand what the machines trying to say". This parallels with what I would assume is the hypothetical audiences experience of difficulty in understanding what is predominantly an alien mode of communication. Second source in face-to-face situations is quite challenging not only through non-exposure to this reality but also that this is an unusual representation and audiences could be confronted by their inability to identify showing that the identification process that occurs in cinema generally does not support difference.
Another example is these characters ability and inability to express themselves. Madeline is visually described as introspective whereas Julia is more forthcoming with her thoughts and feelings even though it is a physical struggle. The two characters juxtapose each other in a sense that Madelaine's problems are internal and are more of an 'emotional disability' whilst she attempts to find/seek power through her body, yet continually encountering problems with her investment in sex and sexuality. Madelaine's instability is shown through her act of repeatedly using Julia almost as a mirror, the extreme of this being taking her voice-machine away so that her sense of reality cannot be challenged.
" I know I'm good looking, good in bed...better off then you, you poor thing".
This is only one example of her stream of consciousness communication as she continually demeans Julia to the role of 'listener' rather than seeing merit in what Julia could communicate. Julia, who, although more emotionally stable, has to deal with the construction of disability by most of those around her seeing her as 'a problem' or 'poor thing' as well as not being able to easily communicate. Madelaine and her boyfriend continually compare her to an animal, and Rix and her girlfriend and even Eddie doubt her sexual desires and ability.
Madelaine: "I wish you could eat like a normal person instead of a bloody animal"
Trevor: "she looks like a fuckin' insect"
This culminates to show the easy reduction of her body to a signifier of powerlessness and therefore sub-human in the eyes of more able people.
Issues of communication are also brought up in showing a parrot-like learning of language, behaviour and attitudes. Copying Madelaine's approach and patronizingly 'sweet' language to Julia and her illness, Eddy chides Julia into drinking a glass of water saying:
"Your pretty good at that now"
Similar to Eddie's mimicking Bad Boy Bubby (1993) De Heer's earlier feature also shows learnt behaviour... "Bubby has a tendency to repeat what others have spoken to him, or what he has heard, and much of his dialogue is this." http://www.angelfire.com/wa/BadBoyBubby/index2.html but interestingly the character of Bubby/Pop has the ability to understand the disabled peoples language (including Heather Rose) and this is one of the limited times he 'converses' and doesn't just repeat.
Another issue of communication is brought up through Julia being talked 'at' by almost everyone. Cat Hope quotes Jake Wilson as suggesting, "de Heer has a "habit of using a struggle over spoken language as a central plot device" An example of this is the ice-cream shop lady patronising with her 'poor dear' and her embarrassed reaction " and can you get her out of here please' when Julia shows herself to be outside of the cultural frame of poor defenceless cripple with her "fuck me" which is framed to be about the "prices being steep" but seems more toward the woman's behaviour.
After this incident Eddie too falls into the trap of talking 'at' her:
"I don't like leaving you alone but I guess you're used to it"
Julia replies defiantly:
"Please don't talk about me, in front of me, like I'm an animal or not there at all".
This repeated line elucidates again that she is above this and at the same time shows her frustration with this undermining habit.
There is a sequence in which through inter-cutting between Julia and Madeline the meaning becomes intense as the context of disability slowly shifts: Madeline is shown to be introspective, sexualised, alone. Julia is trying to communicate, express and break her dormancy in the eyes of the world, specifically Eddie. Julia invites Eddie over to 'tell him something'... the text and the machine although typically emotionless become infused with Julia's emotion as this is her means of communicating. We can relate as she waits for Eddie's reaction to her message because through whatever medium you communicate with you can never be sure of how someone will read or hear it. Madelaine is shown to be sexualised again not just by herself but by her 'new man' who, just like her old ones treats her as a sex object..."sweet heart, park that sweet bum of yours..."
Eddie reads the text which the camera pans over but contains the title line 'Dance me to my song' and gives an impression of her desire to share herself with him. Eddie puts the rumba like music on takes Julia in his arms and they both dance. Meanwhile Madeleine's new love interest wants sex, even though Madelaine doesn't want it; as he proceeds with the sex act he tells her to "feel this sweetheart". Madelaine's face contorts and at this moment Madelaine is the one who, although 'able' cannot communicate.
Madeline in effect is shown to be 'needier' than Julia. After both their experiences, Julia's affirming, Madelaine's shattering Madeline seeks refuge in Julia curling up against her
"You're the only one in the world that loves me Julia".
The next scene Julia 'makes-up' and attempts to fix their destructive relationship and the image of Julia as "an insect cripple" by applying cosmetics on Julia. This 'make-over' scene is also present in another Australian social problem film Angel Baby where the character of Kate is done up for a meeting from Harry, which serves as an analogy for 'institutions' covering up the problem and as a critique of stereotypical 'feminine' representations of what women should really be concerned with.
Madeline then succeeds in seducing Eddie by pretending to be Julia wanting and organising sexual relations with her voice machine. Then when Julia turns it down Julia strips off, emphasising her able body and makes her move. She then informs Julia callously that she will have to return to 'Sea winds' and that it's just the way it works. Julia retaliates and snares Eddie emotionally. Julia and Eddie are intimately lying naked in a non-explicit embrace and Madeline walks in: "Jesus you bastard, you fuckin' lowlife- you fuck cripples now do you?"
Madelaine threatens Eddie with the cops, calling rape. This same reaction is present in Struck by Lightening (dir. Jerzy Domaradzki) its tagline 'independence with dignity" is another Australian film dealing with acceptance of disability- Here, although the two characters with down-syndrome are in love they are thought to not be able to think for themselves and are seen again as animals and incapable of emotional understanding...It is slightly different in that the mother of Gail wants her daughter to be normal and this requires a normal i.e. not disabled, boyfriend.
Madeline also plays mother in order to feel control, this goes to the extreme point of feeling see should "kill" Julia for "ruining my life" but it is equally present in many non-violent acts such as deciding Julia shouldn't read her own mail (though she can) because Eddie is "no good for both of us". This point of "emotional decision-making" is the last straw for Julia and she fires Madeline even though this poses a big threat to her existence as the risk of losing her house or being returned to the institution indefinitely or getting another untrained carer being the possibilities. The temporary carer juxtaposes Madeline strongly as she doesn't talk 'at' Julia and for the first time the emergency button placed on the bed is within reach.
Madeline breaks into Julia's house and expresses her anger at "sacked by a fuckin' spastic". Her abusiveness at this point can be read as attempt to regain power. She snatches the button away and demands a reason while threatening again to kill Julia. Madeline drags Julia off the bed and demands that if she "think (s) your so normal, get up like a normal person and get in your chair". Madeline's frustration with Julia's inability isn't one that we can easily dismiss- western capitalist culture reinforces this ideology- one where we are all equal 'lasse fare' individuals and when people don't achieve this existential attitude get what they deserve...ish.... Julia types that she "stole your boyfriend" and we see Madelaine's inability to handle thinking of what has gone on "shut up, shut up, shut up, shut up, shut up..." Rix saves the day.
Next scene Julia is with the temporary carer who is explaining the interview process to Julia- This highlights other scenes where there are repeated threats of 'the institution or "Sea winds""Wanna go back to that place? Be nicer to me" " you'd be dead if it wasn't for me" and a fear displayed by Rix that she can't be responsible for Julia "do you love me or do you just want me to look after you? "and "I'm worse than fuckin' useless". These scenes hint at the real difficulties involved in being a carer.
The film concludes with a knock at the door, the temp carer asks who should answer, "you or I", then apologies for asking two questions, the first time anyone has really been 'aware' of the communication system which would work with Julia's voice machine. Eddie is at the door and Julia's song, now 'their' song kicks in as they excitedly dance their own dances. This 'happy' ending uses the technique of a rising omnipotent crane shot but is inter-cut with Madeline and her broken down car- she is doing a frustrated dance and further emphasising that she was unable to dance 'with' Julia.
Critical uptake of the film;
At the time of its release:
Most commentary on the film tends to revolve around Heather Rose and her role in the film. Such as:
"It certainly isn't hard to imagine a Best Actress award going to Heather Rose, the star and coscreenwriter of "Dance Me to My Song," directed by Rolf de Heer, whose "The Quiet Room" was so memorable in 1996...The movie would seem exploitative if Rose hadn't coauthored it herself, but her harrowingly honest performance--physically, she is the character she portrays, multiple handicaps and all--is precisely what lifts the otherwise too-familiar drama into the realm of genuinely unique cinema. It's one of the highlights of the festival (Cannes )so far."
David Sterritt "Dance Me to My Song" (1998 Cannes festival)-accessed 29/04/04 http://www.filmscouts.com/scripts/review.cfm?File=danc-me
This is quite a typical reaction, where critics target and sensationalise the 'otherness' of a film and its makers in order to assess it but at the same time Heather's role was amazing. Overall most commentary was positive but there wasn't much in-depth analysis to be found, only few criticisms of the 'happy' ending and one IMBd user's criticism of the characterisation of Madelaine.
Subsequently to release:
Frederick Stahl (31-10-02) Standing Room Only for a Thunderbolt in Wheelchair http://www.smh.com.au/articles/2002/10/30/1035683471529.html
"It was never meant to be a disability movie. From the beginning the intention was to create a drama that stood on its own merits. Inevitably, however, with the lead role being played by Heather, it became a landmark, not just in films about disability, but as a statement about the normality of women whom much of society would rather ignore."
Film in Relation to Other Works
This section situates Dance Me to My Song in relation to the subsequent or prior work of the director Rolf De Heer, production manager Julie Ryan, cinematographer Tony Clark, music composer Graham Tardif, and lead actress and co-writer Heather Rose.
Director: Rolf De Heer is the writer/director of The Tracker (2002); Alexandra's Project (2003); and The Old Man Who Read Love Stories (2000); Dance Me To My Song(1998); The Quiet Room (1996); Epsilon (1995); Bad Boy Bubby (1993); director only (writer is Marc Rosenburg) for Dingo (1991); Encounter At Raven's Gate (1988); Tale Of A Tiger (1984).
Production Manager, Documentarian:
Julie Ryan joined Rolf de Heer's company, Vertigo Productions, as production manager on Dance Me to My Song. She then produced an award-winning Special Broadcasting Service (SBS) documentary Heather Rose Goes to Cannes. Alexandra's Project marks Julie's third consecutive feature with Rolf. She also co-produced The Old Man Who Read Love Stories.
Composer:
Graham Tardif has collaborated with Rolf De Heer on nine films as the music composer including: The Tracker (2002); Alexandra's Project (2003); The Old Man Who Read Love Stories(2000); Dance Me To My Song (1998); The Quiet Room (1996); Epsilon (1995); Bad Boy Bubby (1993); Encounter At Raven's Gate (1988); Tale Of A Tiger (1984).
For detailed analysis of sound see: Hope, Cat. (B. Mus. Hons.) Hearing the Story: Sound Design in the Films of Rolf de Heer 2004, Published in Senses of Cinema,www.sensesofcinema.com/
Cinematographer
Tony Clark is a renowned cinematographer, has shot Epsilon, The Quiet Room and Dance Me to My Song for Rolf de Heer, Sally Marshall is Not An Alien for Mario Andreacchio, Innocence for director Paul Cox and Tempted for Bill Bennett. Received an Emmy Award for cinematography and the national ACS Golden Tripod award for experimental and specialised cinematography [motion control and moving camera time lapse]. Recently working as visual effects and/or motion control supervisor on The Old Man Who Read Love Stories, In A Savage Land, The Real Macaw and Marvel Comics Man-Thing.
Rising Sun Pictures, bio, 2001 http://www.rsp.com.au/website.php?pageID=108
Actor, Co-script-writer:
Heather Rose: Died 5th October 2002. Also in Spin (2004), Prelude to Love (1995) and Bad Boy Bubby (1993-uncreditted) "Perhaps the most lasting achievement of Heather's life will not be the triumphant standing ovation she received at the Cannes Film Festival, nor the outstanding reviews by international and Australian critics; not even the NSW Premier's Literary Award that she shared with her co-writers. The remarkable feat is that the girl who dropped out of school after year 9 and later took some TAFE courses spawned international conferences on women's and disability issues. The University of Hawaii was so impressed that the Pacific Rim Disability Conference was convened to discuss the issues that arose in her film. They called it the Dance Me to My Song Conference, and Heather was the keynote speaker and won the communication award. Not bad for someone who could only talk via a keyboard." Quoted by Frederick Stahl (co-writer) (31-10-02) "Standing Room Only for a Thunderbolt in Wheelchair"http://www.smh.com.au/articles/2002/10/30/1035683471529.html
This information has been sourced from IMDb's film database, Official Rolf de Heer website, Stahl, Frederick . (31-10-02) "Standing Room Only for a Thunderbolt in Wheelchair" http://www.smh.com.au/articles/2002/10/30/1035683471529.html, www.sensesofcinema.com/and the AFC site.
Circumstances of production, release and its box-office.
It is stated that with a minor role in Bad Boy Bubby Heather Rose developed a taste for film production and embarked on writing a script with Frederick Stahl. De Heer then approached them. It is emphasised as a collaborative production. More at Official website: http://www.palace.net.au/danceme.htm and Heather Rose's conference paper underinterviews above.
The film received funding from two major Australian funding bodies: AFC and SAFC.
Only subscription box office figures available, however the festivals and awards listing above, as well as quite a wide release suggest the film was received by quite a wide audience but probably still within 'art-house' cinema streams. The below diagrams illustrate that 1998 was quite a low year for Australian cinema (4%) in the box-office as well as giving an idea of what other Australian films Dance Me to My Song was released with. It illustrates that the top five only contain two films 'Head On' and 'Oscar and Lucinda' which deal directly with Australian context but are still very much internationalist films.
Australian films' share at the box office 1992 to 2002
Year Total Gross % share
1992 29.7 9.0
1993 24.7 6.4
1994 46.6 9.8
1995 19.8 3.9
1996 43.7 8.3
1997 28.4 4.9
1998 25.6 4.0
1999 21.1 3.0
2000 54.2 7.9
2001 63.4 7.8
2002 41.8 4.9
Source: MPDAA and AFC Policy Research and Information
http://www.afc.gov.au/downloads/policies/boxoffice02_bg.pdf
Other Australian films (and distributor) released 1998, with top five in bold:
Title |
Distributor |
Australia |
|
See Box office: Australia: Top 5 each year for earnings of titles listed in bold. |
|
Amy |
Roadshow |
Babe: Pig in the City |
Universal |
The Boys |
Footprint |
Crackers |
Sharmill Films/Beyond Films |
Dags |
Producer |
Dance Me to My Song |
Palace |
Dark City |
Roadshow |
Dead Letter Office |
PolyGram |
Head On |
Palace |
In the Winter Dark |
UIP/Globe |
The Interview |
UIP/Globe |
A Little Bit of Soul |
Columbia TriStar |
Occasional Coarse Language |
Roadshow |
Oscar and Lucinda |
20th Century Fox |
Radiance |
PolyGram |
The Real Macaw |
REP |
The Sound of One Hand |
Palace |
Violet's Visit |
Donna Films |
Welcome to Woop Woop |
Roadshow |
Use the film to estimate what its uptake and current place on contemporary critical and market horizons tells you of the general position of Australian film and its value.
The Australian Film Commission's website heralds De Heer as:
"...the only Australian filmmaker who has had films recognised In Competition at the three most significant international film festivals: Cannes, Berlin and Venice. Dance Me to My Song and The Quiet Room were invited to Cannes in 1998 and 1996, cementing Rolf's place in the international film arena. Bad Boy Bubby won the Grand Special Jury Prize and the International Film Critics' Prize at Venice in 1993, and four Australian Film Institute Awards. The Tracker premiered to critical acclaim at Venice in 2002. Alexandra's Project was invited into Competition at Berlin in 2003."
Australian Film Commission- Australian Films and Awards, Features 2003/04 http://www.afc.gov.au/filmsandawards/recentfilms/0304/feature_62.aspx
Deheer has been repeatedly recognised for being able to make low-budget, low-risk, original and culturally engaging films;
"Rolf de Heer doesn't believe in splashing out millions to make a film...HE makes his bold and distinctively original films cheaply - usually one a year - and those that don't earn their money back lose relatively little..."'
'Screen model for low-budget winners' The Australian , 17-03-2004 , Ed: 1 - All-round Country , Pg: 012 , 821 words , FEATURES The Australian ,
This is quite reflective of Australian Film funding cuts and funding bodies trying to re-enforce that it is possible to make films with barely any money.
Relationship to Australian cinema; As a particular type of film and as belonging to a genre or genres.
"Perhaps the most characteristic aspect of Australian "art" film is, paradoxically, their non-Australianness." (Gary Gillard, chapter 11, "Art Film", unpublished)
Dance Me to My Song is an example of a quality film that blends art film and drama, fact and fiction (O'Regan, 1996:233) It deals with subjects on the fringes of public knowledge therefore pertaining it to Art-house, as well as social problem and drama genre/type classifications.
Gillard quotes Petley: "[Art] films have an open-ended approach to narrative causality and display a greater tolerance of narrative 'gaps' than do more classical forms. Here, as in real life, questions remain unanswered, ends are left loose and situations unresolved".
In the typical Social Problem film "social context is transformed into dramatic events and movie narrative adapted to accommodate social issues as story material through a particular set of movie conventions (Landy, Marcia, 1981:viii) The text displays characteristics of 'the social problem' film in that it deals directly with a social problem per se and the institutions surrounding that social problem. It differs from typical Australian representation of this type in that it has a more "Hollywood" ending, whereas most texts I have come across do not resolve or are more ambiguous in order to point to the prevailing nature of the problems. The main reason why Dance Me to My Song defers from this paradigm (and must) is that the emphasis has shifted- the context is not the problem of disability but the problem of only seeing disability and when the protagonist achieves her goals which is a relationship with Eddie this important issue is resolved, however by inter-cutting back to Madeline who can only see the disability and not the individual the issue still prevails, although it is possible to read this scene more as the character of Madeline being pure evil and getting what she deserves. As Eugene comments:
"As straightforward and unpretentious as this film is, one thing it's not is... terribly complicated. I'm hard-pressed to think of any scene where it isn't abundantly clear how we're supposed to react; everything is so clear-cut. This scene will make you smile, that one will make you shed a tear, this one will make you laugh, and that one will make you want to shout in anger. The film falls short of true greatness, IMHO, by making Madelaine a near-total witch. There are a few attempts at making Madelaine a more three-dimensional character (including a scene in which she sits by herself and cries), but in the end, it's apparent that we're just supposed to hate her."
User Comment Internet Movie Database-http://us.imdb.com/, Eugene, Kim. (USA) 19/06/99- accessed 29/04/04
Still, the film functions to address widespread negative attitudes to minority groups. As Katie Ellis discerns:
"Australian national cinema during the 1990s excludes a disabled identity. The experience of disability is individualised as one of medical pathology that people who have impairments should seek to cure or hide, or at the very least not bother anyone with. Representations locate the problem in a damaged body rather than a discriminatory environment."
http://student.ecu.edu.au/VC/webbbs/boards/vcbcast/vcbcast.bbs?read=2409
Other production Information/ early script:
The last two verses of a poem that was in an early draft of the script.
Whatever fate may thrust at me
I'll never be the same
I've had less fear of times to be
Since first I heard your name
I need to feel secure from harm
I will not keep you long
Please hold me tight within your arm
And dance me to my song.
Quoted by Frederick Stahl (co-writer) (31-10-02) "Standing Room Only for a Thunderbolt in Wheelchair" http://www.smh.com.au/articles/2002/10/30/1035683471529.html
For further research on the representation of disability it could be interesting to compare other treatments of cerebral palsy:
3. Don't Tell the Cripples About Sex (1974)
4. Door to Door (TV)
7. How to Kill Your Neighbor's Dog (2000)
9. My Left Foot (1989) ...aka My Left Foot: The Story of Christy Brown (1989)
http://www.imdb.com/List?tv=on&&keywords=cerebral-palsy&&heading=19;cerebral-palsy
References:
Australian Film Commission- Australian Films and Awards, Features 2003/04
http://www.afc.gov.au/filmsandawards/recentfilms/0304/feature_62.aspx
http://www.afc.gov.au/downloads/policies/boxoffice02_bg.pdf
Ellis, Katie. http://student.ecu.edu.au/VC/webbbs/boards/vcbcast/vcbcast.bbs?read=2409
Eugene, Kim. Internet Movie Database-http://us.imdb.com/, (USA) 19/06/99 accessed 29/04/04
Gillard, Garry quoting Petley in Chapter 11 "Art Film" (unpublished): Petley, Julian 1999, 'Art cinema', in Pam Cook & Mieke Bernink eds 1999, The Cinema Book, second edition, BFI, London: 106-111.
Helana Sharp quoting Landy, Marcia, 1981:viii, in MED231 site, Critical Review of 'The Tracker', 2002.
O'Regan, T. Australian National Cinema, Routledge New York, London, 1996, reprint 2001 pp. 39, 171, 174, 177, 195, 207, 262, 322, 352
Stahl, Frederick . (31-10-02) "Standing Room Only for a Thunderbolt in Wheelchair" http://www.smh.com.au/articles/2002/10/30/1035683471529.html
Sterritt, David "Dance Me to My Song" (1998 Cannes festival)
'http://www.filmscouts.com/scripts/review.cfm?File=danc-me (accessed 29/04/04)
http://www.palace.net.au/danceme.htm
http://www.angelfire.com/wa/BadBoyBubby/index2.html
http://www.realtimearts.net/rt56/capp.html (accessed 1/05/04)
Filmography:
Alexandra's Project (2003), dir. Rolf de Heer
Angel Baby (1995), Michael Rymer
Bad Boy Bubby (1993), dir. Rolf de Heer
Dance Me To My Song (1998), dir. Rolf de Heer
Encounter At Raven's Gate (1988), dir. Rolf de Heer
Epsilon (1995), dir. Rolf de Heer
Heather Rose Goes to Cannes (1998) prod. Julie Ryan
Prelude to Love (1995)
Spin (2004)
Struck by Lightening (1990) dir. Jerzy Domaradzki
Tale Of A Tiger (1984), dir. Rolf de Heer
The Old Man Who Read Love Stories (2000), dir. Rolf de Heer
The Quiet Room (1996), dir. Rolf de Heer
The Tracker (2002), dir. Rolf de Heer