Doin time for Patsy Cline

[Niemmy]

“Doing Time for Patsy Cline” is a film that rides on its actors successes, in particular in my opinion, Miranda Otto’s performance. Her raw beauty, and enchanting singing voice make the film visually and emotionally captivating. Director Stavros Kazantzidis in his film, “True Love and Chaos” (1997) utilises her vocal talent, whereby she sings Blondie favourite “Union City Blue”, which becomes a motif for the film in much the same way as “Dead Red Roses” does for “Doing Time for Patsy Cline”. Her previous work seem to lend her to a demure, naïve, childlike typecasting. Her filmography includes titles such as “The Last Days of Chez Nous” (Gillian Armstrong 1992), “The Well” (Samantha Lang, 1997 ), “In the Winter Dark” ( James Bogle 1998 ) “Love Serenade” (Shirley Barret 1996) and “The Nostradamus Kid” (Bob Ellis 1993).



At the time of filming “Doing Time for Patsy Cline”, Matt Day (Ralph) was also acting in Bill Bennett’s “Kiss or Kill” (1997). In response to them both being genre films he said in an interview to ‘Urban cinefile’ “I think it’s a sign of maturity that we can start doing genre movies” (1997). He was referring to his maturation as an actor. However the quote can be related to Australia’s progress as a national cinema. Prior to “Doing Time for Patsy Cline”, he was involved in P.J Hogan’s international success “Muriel’s Wedding” (1994). In relation to this, his role in “Patsy” was very similar in terms of characterisation. No doubt his presence in “Muriel’s Wedding” gave it the advantage of a well known star. Matt Day’s filmography includes titles such as: “Love and Other Catastrophes” (Emma-Kate Croghan 1996), “Dating the Enemy”, “Muriel’s Wedding” (P.J Hogan 1994) and Dating the Enemy. (1996)

Richard Roxbourgh, the principle actor, formed a romantic alliance with Miranda Otto and subsequently went on to co-star with her in “In the Winter Dark”. He also built himself a name as a television personality, his work including: “Blonde” (2001), “The Road from Coorain” (2001). He also gave a vast contribution to the arena of film, showing his diversity as an actor. His filmography includes: “Oscar and Lucinda” (Gillian Armstrong 1997), Thank God he met Lizzie (1997), “Children of the Revolution”(1996) and “Moulin Rouge” (2001 Baz Lurhman)

[Niemmy]

Tom O’Regan defines the Australian National Cinema as a mundane cinema. He was referring to how we question and divide value between different national cinemas. The entitling of our ANC as “mundane” is due to our critics and audiences identifying with the ‘ordinariness’ of our films and placing them in relation to more prestigious or “art house” national cinemas. Our stories, and indeed my example “Doing Time for Patsy Cline” often present ordinary Australians in ordinary situations. Ralph’s father, for example, is as Australian as they come. Ralph is an ordinary teenager, not a stunning beauty and does not possess some heroic talent or trait. It is this signpost quirky ordinariness of Australian cinema that has almost lent it to a genre of its own. It is this cultural value and quirkiness that allows our films to compete with Hollywood in the local arena.

Our position as a medium-sized English language cinema means that our markets include those of English speaking audiences. Our main competitors are therefore the USA and the UK. With the size, funds available and level of market establishment of Hollywood cinema, British and Australian national cinemas act to supplement what they have to established. Hollywood market dominance often sees Australian National Cinema films channeled into art films, short films and festival streams. Often this festival circulation can accumulate some “prestige” in the international film landscape. The independent Australian film and films like “Doing Time for Patsy Cline” aid in defining the meaning of Australian film and culture and retain their marketability by maintaining their “quirk”. An example of the critical uptake could be Chris Kennedy receiving festival acclaim in the Toronto Festival for his screenplay.



"Australians routinely hold Hollywood film-making, British cinema and television and the European and now Asian cinema in higher esteem than the local product " (O’Regan. 1996, p.215).



Due to the size of our national cinema and the fact that our industry is quite young, many actors or film technicians have to migrate to America to seek higher employment or recognition for their art. Matt Day in an interview with Urban cinefile explained that after his successes with “Muriel’s Wedding” he had acquired an agent in America. Andrew Lesnie moved to America and joined the crew for “The Lord of the Rings Trilogy”. One way of viewing our national cinema is a learning pool for actors, cinematographers, producers etc. with talent moving to greener pastures where there is higher budgets and international success.



With all this migration and with the winding down of the 10 BA tax incentives of the 80’s, in the 1990’s and beyond it is getting harder and harder to decipher what is an Australian film. With the FFC taking over the funding and a trend toward private and international investments it has been suggested that films becoming less stereotypically Australian and lending to a more multicultural interpretation. “Doing Time For Patsy Cline” obviously alludes to the American cultural understanding. Part of the film is set in Nashville and all the other parts follow the American dream of fame and fortune. However, this film is so quirky and amusing due to its distinct Australian type humour, one can not mistake it for anything less.