'Picnic At Hanging Rock' - Cutting Edges (2-11)

‘Picnic At Hanging Rock’- Cutting Edges (11)’
[1144 words]

Australian mystery and drama, ‘Picnic at Hanging Rock’, is an unusually slow-paced, dream-like, and mesmeric film (1975), directed by Peter Weir, and based off Joan Lindsay’s preceding novel.

Set in a girl’s boarding school, against the backdrop of the later years of Victoria’s rein, (1900)… a class of 19 head off to the ancient, geologic formation known locally as ‘Hanging Rock’, for a picnic. The following sequences are dripping in ambiguity, as we watch a small group of students wander away from the main class, and disappear within the maze-like structure, in circumstances that range from supernatural, to unfortunate accident, to a more symbolic representation of metamorphosis in sexuality.

The films genius comes from, not what they hint to be solutions, but rather what they do no say. The heavy, drowsy atmosphere of the film, coupled against the mystery and potential for violence, is an unusual combination. But one – I feel – works incredibly well to “hypnotize the audience away from the possibility of solutions”, and to lose their “awareness of facts”, as stated by Weir himself in the 76th Issue of ‘Sight & Sound’ (Jan Dawson, 1985). Similar to the missing girls, we are coaxed into this “hallucinatory, mesmeric rhythm”… trapped in an “enclosed atmosphere” (Ebert, 1998), that does nothing to explain the logic of said disappearances. We do little to question why, but merely watch the inevitable.

The original book hints largely with stray clues that indicate an isolated rock fall. Often referring to ‘Hanging Rock’ as “treacherous” and “loose”, and hinting at disturbances… and a change in terrain isolated from when the group walked up, than their seekers- perhaps an avalanche that occurred since- (the girls “walked barefoot over the “warm smooth stones” up the higher rock platform just below the monolith where they had their sleep.”, as opposed to Mike, who had “great difficulty”, as we’re told “huge rocks and boulders block his path on the rising ground, each a nightmare obstacle to be somehow walked around, clambered over, crawled under according to size and contour.”) 

Such details leave room for interpretation, as evident in: ‘The Solution to Joan Lindsay’s Novel- Picnic at Hanging Rock?’, (McKenzie, 2016).

The final chapter, however, that came out in 1987, 20 years later, commits itself to a purely supernatural phenomenon.

Alternatively the film is mainly centered on the idea, or feeling of mystery/a higher power in play, to which we have no say- instead of seeking a final resolution. The unspoken knowledge that seems to hang over the girls, prior to their disappearance, is a huge, looming presence that feels almost inevitable. No words, with synchronized actions, they disappear gently into the crevice of the rock.  With no violence and no jarring motions, there's merely an absence. As if the girls have passed unintentionally across the barrier between this world and another (death etc.)
It's intriguing and fear evoking, as we ‘realise’ we watched as they existed on the border… in a heightened state too far removed to exist in either. As stated by ‘curator_13410’ (IMDb), “weir never bothers us with needless dialog”. The plot would inevitably become much “weaker”, if- as they summarise- we heard Miranda calling to her companions, “follow me, we must reach the top”. This choice enforces this sense of “spirituality and intuitive communication” evident throughout the film.



Fig. 1

There seems to be a greater empathise to Miranda, than the other students present, and while you could start arguing it was because she was, in some way, ‘more involved’… we must remember Marion (played by Jane Vallis), who’d disappeared along with her, and who’d even led the group into the final crevice (in the book). Yet time, and time again Miranda is central to the action, as

the camera lingers on her most. The relationship between herself and Sara required a slight degree of emphasization, true. But her continued presence on screen seems almost obsessive. Her golden hair and outward beauty encapsulates the ‘gaze’ of the audience.



Fig. 2

The film encourages this behaviour throughout- even with its front cover, an unusual choice for a mystery. Said genre is shown in pinkish haze, and the glowing persona of Miranda (something we may think initially, better suits romance, or perhaps a biography, documenting its subject in a ‘positive’, or ‘flattering’ light).In that regard it feels like Miranda is the key to the mystery- or the main motivator for our (the audiences), involvement in the film.
In fact, released on Valentine’s Day, and this emphasis on body/beauty, enforces heavy filmic themes around repressed sexuality within the context of Victorian Australia.
Tightened corsets, and the links between the characters and the biblical story of Adam and Eve (“The Headmistress is names Mrs Appleyard. Apple tree? Tree of knowledge?”…”Sexual awakening/shame?”… and “poisonous snakes” as a kind of sexual connotation, observed by David Maine, 2014), hint such ideas.

Fig. 3

In relation to potential higher power… There’s a constant reference and reminder to nature, and its overwhelming presence in everything we do, say or think. Ian Nathan (2015) comments how “his [Russel Boyd] visionary camerawork keeps resting on plants, animals, hives of restless insects, the screen almost bursting with wilderness.". Perhaps the directors way of emphasising "nature’s alien quality, how these prim girls are set against unknowable forces”. Due to the rock’s history, prior to 1836, when many aboriginals died of smallpox, or were murdered/moved by colonists… there’s suspected links between this nature oriented way of life, compared to the girl’s own constricted boarding school. The pupils of Appleyard College (an all-girls private school more concerned with teaching the students how to be a “proper lady”), stand as a stark opposite to the chaotic but inevitably planned temperament of nature.

Clad in white gowns, tightly strung in corsets, and clothing typical of an ’Angel in the House’… this control is slowly seen to dissipate as each girl, of the ill-fated group, strip down one article of clothing at a time, as they wander in and amongst the natural formation of ‘hanging rock’.
There’s definitely something more symbolic about it. The transition of time, and growth as people (perhaps a sexual awakening of sorts). Or even the relation of time from a geological standpoint, to a more human one.

Fig. 4

 As they ascend to some higher plane, outside of ordinary time… there’s a separation seen between themselves and the world around them (Edith stands as a depiction of life on the ground- often commenting on trivial things like their “shoes” and stockings).
Marion clearly begins to mature in her world-view, away from her peers: “Whatever could those people be doing down there… like a lot of ants. Surprising the number of human beings… that are without purpose. Though it is probable they’re performing some function unknown to themselves.”
This clear psychological disconnection, is shown using separated shots...
drawing invisible distance between the two- perhaps hinting at a time gap (from girl to woman).

Fig. 5

References
Videos
'Alexa Gerrity', (2012), 'Picnic at Hanging Rock', [Online Video]. Available at: https://www.youtube.com/watch?v=_DncGCwOI0k [Accessed Date:

'criterioncollection', (2014), 'Peter Weir on Picnic at Hanging Rock', [Online Video]. Available at: https://www.youtube.com/watch?v=IuImwxk3xUk [Accessed Date: 25/07/2017]
'National Film and Sound Archive of Australia (NFSA)', (2016), 'Picnic at Hanging Rock - what happened to the girls?', [Online Video]. Available at: https://www.youtube.com/watch?v=6u9-__iDeqI [Accessed Date: 25/07/2017]

Picnic At Hanging Rock', (1975). Directed by Peter Weir [Film]. Australia: British Empire Films Australia.

Illustrations
Fig. 1 'Picnic At Hanging Rock', (1975), [Film Still, 2:35, 2:39]. Available at: https://www.youtube.com/watch?v=K_mYDHAYu90 [Accessed Date: 25/07/2017]
Fig. 2 'Picnic At Hanging Rock DVD Cover', (1975), [Online Image], Available at: http://cdn26.us1.fansshare.com/photo/picnicathangingrock/picnic-at-hanging-rock-zone-dvd-23790356.jpg [Accessed Date: 25/07/2017]
Fig. 3 'Picnic At Hanging Rock', (1975), [Film Still]. Available at: http://www.spanglishinlesbilandia.com/wp-content/uploads/2013/02/corset-pahr.jpg [Accessed Date: 25/07/2017]
Fig. 4 'Woman's Rights', (\- suspected late 19th century), [Online Image], Available at:
https://www.bl.uk/romantics-and-victorians/articles/gender-roles-in-the-19th-century# [Accessed Date: 25/07/2017]
Fig. 5 'Picnic At Hanging Rock', (1975), [Film Still, 10:17, 10:20]. Available at: https://www.youtube.com/watch?v=_DncGCwOI0k&t=295s  and [Accessed Date: 25/07/2017]



Websites
Abbott, Megan (2014), 'Picnic at Hanging Rock: What We See and What We Seem', [Online]. Available at: https://www.criterion.com/current/posts/3202-picnic-at-hanging-rock-what-we-see-and-what-we-seem [Accessed Date: 25/07/2017]

'australia.gov.au', (-2017), 'Women in colonial times', [Online]. Available at: http://www.australia.gov.au/about-australia/australian-story/women-in-colonial-times [Accessed Date: 25/07/2017]

Buckmaster, Luke (2014), 'Picnic at Hanging Rock: Rewatching classic Australian films', [Online]. Available at: https://www.theguardian.com/culture/australia-culture-blog/2014/jan/23/picnic-hanging-rock-rewatching-australian-films [Accessed Date: 25/07/2017]

Clapp, Susannah (2017), 'Picnic at Hanging review- bright and mysterious', [Online]. Available at: https://www.theguardian.com/stage/2017/jan/22/picnic-at-hanging-rock-review-lyceum-edinburgh [Accessed Date: 25/07/2017]

Gilbert, Rowena (1997-2009), 'WHAT REALLY HAPPENED AT HANGING ROCK? The Mystery Solved', [Online]. Available at: http://www.castleofspirits.com/picnicathangingrock.html [Accessed Date: 25/07/2017]

Greenwood, Garry (\), 'My Picnic at Hanging Rock - a place of haunting beauty and unsolved mystery', [Online]. Available at: https://travel.startsat60.com/#!/articles/my-picnic-at-hanging-rock-a-place-of-haunting-beauty-and-unsolved-mystery [Accessed Date: 25/07/2017]
Hughes, Kathryn (2014), 'Gender roles in the 19th century', [Online]. Available at:

https://www.bl.uk/romantics-and-victorians/articles/gender-roles-in-the-19th-century [Accessed Date: 25/07/2017]

'IMDb', (2000), 'Reviews & Ratings for: Picnic at Hanging Rock', [Online]. Available at: http://www.imdb.com/title/tt0073540/reviews?ref_=tt_ql_3 [Accessed Date: 25/07/2017]

Maine, David (2014), ''Picnic at Hanging Rock', Is Elliptic and Suggestive', [Online]. Available at: http://www.popmatters.com/review/183599-picnic-at-hanging-rock/ [Accessed Date: 25/07/2017]

McKenzie Brett (2016), 'The Solution to Joan Lindsay's Novel Picnic at Hanging Rock?', [Online]. Available at: https://www.mck.com.au/the-solution-to-picnic-at-hanging-rock/ [Accessed Date: 25/07/2017]

Nathan, Ian (2015), 'Picnic at Hanging Rock', [Online]. Available at: http://www.empireonline.com/movies/picnic-hanging-rock/review/ [Accessed Date: 25/07/2017]

Phipps. Keith (2014), 'Picnic At Hanging Rock', [Online]. Available at: https://thedissolve.com/reviews/884-picnic-at-hanging-rock/ [Accessed Date: 25/07/2017]

Spacey, Andrew (2017), 'Analysis of Poem "A Dream Within A Dream" by Edgar Allan Poe', [Online]. Available at: https://letterpile.com/poetry/Analysis-of-Poem-A-Dream-Within-A-Dream-by-Edgar-Allan-Poe [Accessed Date: 25/07/2017]