Picnic At Hanging Rock initial demeanour – full-throttle reboot of an …

February 14, 2018 - Picnic Time

Gone are a vessel flutes and soothing hues. This series, starring Game of Thrones’ Natalie Dormer, is crazier, glossier, zeitgeisty

Wed 14 Feb 2018

‘It takes no time for a initial partial of a new Picnic during Hanging Rock to settle a strikingly opposite groove.’
Photograph: Foxtel

It is frequency strange to contend a executive Peter Weir’s 1975 masterpiece Picnic during Hanging Rock evokes a dream-like ambience. A quote even opens a film, from a famous poem by Edgar Allan Poe, about introspective existence as a dream within a dream. Weir indulged in contradictions: a mood fragile yet haunting; a tinge picturesque yet fantastical; a story open-ended yet grimly final.

Though technically a re-adaptation (of Joan Lindsay’s 1967 novel) rather than a remake, a shade of Weir’s film looms vast over Foxtel’s arriving six-part radio series. It will fundamentally pull comparisons, and cries of, ‘Why even go there?’

It takes no time for a initial partial (which had a first-ever press screening on Wednesday in Melbourne, and forms a border of this review) to settle a strikingly opposite groove. Gone are a vessel flutes and soothing hues. Gone is a elegance. This is a crazier, full throttle, some-more literally charming dream, liughtness and contrariety cranked by a roof.

‘The new Picnic has a stickiness of a Kettering Incident, a shimmer of Luhrmann’s Gatsby, a candied glaze of Tim Burton’s Wonka or Wonderland.’ Photograph: Foxtel

The weed is so immature it looks like bubble-wrapped astro turf. When object collides with women in white dresses, a outcome is reduction radiant than retina-burning. The new Picnic has a stickiness of a Kettering Incident, a shimmer of Luhrmann’s Gatsby, a candied glaze of Tim Burton’s Wonka or Wonderland, as if a support has been lonesome in muck from a melted rainbow.

If this sounds some-more like a calamity than a dream, maybe that’s a point. The furious hardness of Garry Phillips’ cinematography is equivalent by partially solemn editing. There are lengthy, slow shots, as in a rudimentary moments depicting puzzling widow Hester Appleyard (Natalie Dormer, aka Margaery Tyrell from Game of Thrones) inspecting a palace for sale in Macedon, Victoria.

Appleyard – a basket box now, by a approach – transforms a skill into a propagandize for immature ladies. Pupils embody Irma (Samara Weaving), Marion (Madeleine Madden) and Miranda (Lily Sullivan, recently in Romper Stomper and Jungle). Dora Lumley (Yael Stone) is a headmistress’s constant second-in-command.

Canadian-born substantiating executive Larysa Kondracki (passing a baton, after a initial 3 episodes, to Amanda Brotchie and Michael Rymer) continues a prolonged tradition of unfamiliar filmmakers exploring Australian landscapes in distilled fact – notably, Scottish filmmaker Harry Watt in The Overlanders, associate Canadian Ted Kotcheff in Wake in Fright, and Englishman Nicolas Roeg in Walkabout.

While Weir’s Picnic is a hermetically hermetic universe, existent in a possess fragile space, a radio array is zeitgeisty, clearly connected to heightened seductiveness around female-led and empowered narratives. In a initial partial Miranda fends off a excitable child in a stables by pushing a pitchfork into his feet.

Appleyard, however, has hijacked a story this time around, author Beatrix Christian (with a integrate of after episodes penned by Alice Addison) configuring her as a Miss Peregrine-esque leader: maternal yet lively and chic. Natalie Dormer’s terrific, scenery-chewing opening punches by a thick, spirituous atmosphere around her. The remaining expel competence need a small longer than a initial partial to do a same.

‘The array is clearly connected to heightened seductiveness around female-led and empowered narratives.’

Photograph: Foxtel

The lapse to Hanging Rock is partial of a current, nostalgia-tapping trend in Australian film and television. In new years we’ve seen sequels/remakes/adaptations of Mad Max, The Devil’s Playground, Turkey Shoot, Wolf Creek, Romper Stomper and Wake in Fright – and that, erm, fake trailer for Crocodile Dundee.

It’s unfit to call it after usually one episode, yet a Picnic during Hanging Rock redux appears to go to a top membrane of a movement. It’ll take some-more than a singular ep to get a hold on where it’s going thematically, yet a essay on a wall suggests a distinguished contemporary character will meaningfully supplement to an old, well-probed content (and clamp versa).

And prohibited damn, a uncover looks amazing. It’s a blast to watch it shift on a margin between windy value and stylistic profusion – for now, during least, gripping on a good side of a divide. You could disagree this is a box of character over substance, yet a same evidence could be made, however foolishly, of Weir’s classic.

The source material’s puzzling beauty registers here on a opposite level; maybe a opposite state of consciousness. It’s as if we fell asleep, woke up, afterwards fell defunct again.

Picnic during Hanging Rock screens during Berlin film festival on 19 and 23 February, and has a universe radio premiere on 6 May on Foxtel

source ⦿ https://www.theguardian.com/tv-and-radio/2018/feb/14/picnic-at-hanging-rock-first-look-full-throttle-reboot-of-an-australian-classic

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