Careful, He Might Hear You [1983] Carl Schultz

http://bayimg.com/mAkeaAADo Careful, He Might Hear You (1983) http://www.imdb.com/title/tt0085295/ During the Great Depression, motherless boy, PS (Nicholas Gledhill), is the subject of a tussle by his two aunts, the Anglophile Vanessa (Wendy Hughes) and working class Lila (Robyn Nevin). Newly returned from a world tour, wealthy socialite Vanessa lavishes her orphaned nephew with gifts, limo rides and affection. But the dowdy Lila is determined to fight her sister's custody claim in court. When the boy's long absent father, Logan (John Hargreaves) arrives, the complications abound; the alcoholic dad loves his son but is incapable of caring for him. Wendy Hughes ... Vanessa Robyn Nevin ... Lila Nicholas Gledhill ... PS John Hargreaves ... Logan Geraldine Turner ... Vere Isabelle Anderson ... Agnes Peter Whitford ... George Colleen Clifford ... Ettie From the very first shot it's clear that cinematographer John Seale contributes enormously to the film's success. It's without doubt one of the most wonderfully photographed films of Australian cinema. His framing and lighting are superb tools that help tell this story, graced by top performances from some of Australia's most accomplished actors. It's a story that easily resonates universally, and director Carl Schultz selects the most poignant dot points with which to tell it. The intense opening shot establishes perspective: it’s a close-up of a young boy, PS (Nicholas Gledhill), as he eavesdrops on a conversation between his Aunt Lila and Uncle George, who’ve been his guardians in the six years since the death of his mother. In hushed, concerned tones they discuss the arrival of Aunt Vanessa from England, an event that will have significant ramifications for all. This is one of Australian cinema's most accomplished works; the fact that it won 8 AFI Awards is official testament to its impact. One of its great achievements is its easy handling of the period; it's as if it were contemporary; unselfconscious, casually perfect in design. It's a wonderful tutorial for filmmakers; how to work effectively and making it seem easy. But it's also a wonderfully evocative, emotionally satisfying work, taking the original material and not just transplanting it but enriching it with all the power of the movies. Wendy Hughes is at her most sensual, Robyn Nevin at her most dynamic, John Hargreaves at his most complex; the character is written without clichés, which helps. And Schultz wrangled a natural performance out of young Nicholas Gledhill, especially in the most important scenes. He does have the most perfect face and eyes for the role. It's a haunting work, beautifully realised . The contrast between the sisters is an obvious and expected one, though significantly Vanessa is never portrayed as evil, only desperate and misguided. Dubbed “frigid” and “the virgin queen” by Logan, she may surround herself with opulence but there’s a certain drabness to her home, a sense of gradually decaying glamour, the weight of receding generations seeping into the depths of what she clings to most desperately. Wendy Hughes is a radiant presence and gives one of her best performances as the pitiful Vanessa; paradoxically she makes us feel real empathy for her even as we’re wantonly praying she loses her fight. 8-year-old Gledhill, whose performance excels as the film progresses, is superb as young PS, his stoicism camouflaging expressive depths which only emerge over time, whilst Robyn Nevin is very solid as the decent, hard-working Lila, a woman we easily admire and relate to. Also contributing strongly to the film’s success are the images of cinematographer John Seale, with his revealing close-ups and intricately-composed wide angles providing a level of artistry that would soon see him lured to Hollywood, destined for international success (including an Oscar for The English Patient). Composer Ray Cook provides a brilliant score for the film with a lush, mostly subdued, romantic, old-Hollywood feel to it, often spilling over into appropriately melodramatic surges. Careful, He Might Hear You is a sumptuous and captivating film which easily stands the test of time - in fact, I think it’s one of the best Australian films I’ve seen. With no overreaching or caricatures in its portrayals, it’s a simply told drama, but one filled with subtle complexities. It’s a moving film with no easy resolutions - only a wilful determination as PS, a moniker first mockingly applied by his mother (who saw him as “a postscript to her ridiculous life”) takes his first possessive steps towards claiming ownership of his birth name and a a true identity. 1983 Won AFI Award Best Achievement in Cinematography John Seale 1983 Won AFI Award Best Achievement in Costume Design Bruce Finlayson 1983 Won AFI Award Best Achievement in Production Design John Stoddart 1983 Won AFI Award Best Actor in a Supporting Role John Hargreaves 1983 Won AFI Award Best Actress in a Lead Role Wendy Hughes 1983 Won AFI Award Best Director Carl Schultz 1983 Won AFI Award Best Film Jill Robb 1983 Won AFI Award Best Screenplay, Adapted Michael Jenkins 1983 Nominated AFI Award Best Achievement in Editing Richard Francis-Bruce 1983 Nominated AFI Award Best Achievement in Sound Butterfield, Syd Julian Ellingworth Roger Savage Andrew Steuart 1983 Nominated AFI Award Best Actor in a Lead Role Nicholas Gledhill 1983 Nominated AFI Award Best Actress in a Supporting Role Robyn Nevin 1983 Nominated AFI Award Best Original Music Score Ray Cook

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