Picknick am Valentinstag (1975)

During a rural picnic, a few students and a teacher from an Australian girls' school vanish without a trace. Their absence frustrates and haunts the people left behind.

Director:

Peter Weir

Writers:

Joan Lindsay (novel), Cliff Green (screenplay)

Stars:

Rachel Roberts, Anne-Louise Lambert, Vivean Gray

Won 1 BAFTA Film Award. Another 3 wins & 11 nominations.

Cast

Cast overview, first billed only:
Rachel Roberts	...	Mrs. Appleyard
Vivean Gray	...	Miss McCraw
Helen Morse	...	Mlle. de Poitiers
Kirsty Child	...	Miss Lumley
Tony Llewellyn-Jones	...	Tom (as Anthony Llewellyn-Jones)
Jacki Weaver	...	Minnie
Frank Gunnell	...	Mr. Whitehead
Anne-Louise Lambert	...	Miranda (as Anne Lambert)
Karen Robson	...	Irma
Jane Vallis	...	Marion
Christine Schuler	...	Edith
Margaret Nelson	...	Sara
Ingrid Mason	...	Rosamund
Jenny Lovell	...	Blanche
Janet Murray	...	Juliana

Storyline

Three students and a school teacher disappear on an excursion to Hanging Rock, in Victoria, on Valentine's Day, 1900. Widely (and incorrectly) regarded as being based on a true story, the movie follows those that disappeared, and those that stayed behind, but it delights in the asking of questions, not the answering of them.

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Plot Keywords:

rock | student | school | girl | teacher | 

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Taglines:

A recollection of evil

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Genres:

Drama | Mystery

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Certificate:

PG

Details

Country:

Australia

Language:

English French

Release Date:

2 February 1979 (USA)

Also Known As:

El enigma en las Rocas Colgantes

Filming Locations:

Australia

Box Office

Budget:

AUD 440,000 (estimated)

Opening Weekend:

$27,492 (USA) (26 June 1998)

Gross:

$84,744 (USA) (3 July 1998)

Company Credits

Production Co:

Australian Film Commission, The, British Empire Films Australia, McElroy & McElroy

Technical Specs

Runtime:

115 min 107 min (1998 director's cut)

Sound Mix:

Mono

Color:

Color (Eastmancolor)

Aspect Ratio:

1.66 : 1

Did You Know?

Trivia

Not much acting was required in the scenes with Mrs. Appleyard and her students, as their real-life relationship was rather tense. Rachel Roberts, who played Mrs. Appleyard, preferred acting to a piece of tape on the wall, instead of having the girl to be standing there.

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Goofs

The bridge of Marion's eyeglasses sets near the top of the frame; prior to the 1920s, eyeglass frames were manufactured with the bridge vertically centered between the lenses.

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Quotes

[first lines]
Miranda: What we see and what we seem are but a dream, a dream within a dream.

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Connections

References L'Avventura (1960)

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Soundtracks

Piano Concerto No 5 in E Flat Major (Emperor Concerto), 2nd Movement
Written by Ludwig van Beethoven

User Reviews

If you're up for a free-form dramatization of the word 'unease'...

I remember reading (God knows where) someone's shaggy-dog story about this film. Apparently, this individual had a friend (as people who tell these kind of stories tend to) who went to see 'The Texas Chainsaw Massacre' sometime in the mid 1970s. He was late, there was the inevitable confusion, and he consequently spent the next two hours whimpering in fear - waiting for the chainsaw-wielding assassin to appear and rip into a bunch of immaculately attired Edwardian schoolgirls.

This is probably as good an analogy as any for the sense of dread this film (fitfully) manages to accumulate. Watching it is like seeing weather systems build. Small increments appear, converge on other increments, circling each other ambiguously before merging into a grey, baleful mass that sits there on the horizon, making atmospheric noises. In 'Picnic...' the wind moves plangently through eucalypts, clocks tick, an orphan girl is the victim of snobbish behaviour, girls gossip, more clocks tick, the wind moves through more eucalypts, the clocks stop, something 'unspeakably eerie' happens, and that's pretty much it.

Ultimately, the film is about Peter Weir placing markers of European culture

• corsets, watches, a locally built replica of an Eighteenth century

English manor - in the vast, contoured, deeply ambivalent Australian hinterland, and letting his camera record the absurdity of those spatial relationships. His early twentieth century Australians anxiously encircle themselves with the accoutrements of civilization they've brought with them - its dress codes, its class politics, its architectural styles - as if shielding their bodies from the unfamiliar landscape outside. Yet their attempts to maintain a European identity by 'keeping up appearances' come off as merely obsessional.

The elaborate dresses the girls wear, the formalities observed at the picnic (and at a surreal dinner party set on a flat, sunblasted lake edge - a Seurat painting gone horribly wrong), far from being emblems that mark a cultural continuity unifying Australia with Europe, seem oddly fetishistic - deeply arbitrary. Weir's characters seem to sense this meaninglessness also; they're enervated, without conviction. They seem to realize that, in bearing items of European material culture within this new environment, they're merely in possession of a bunch of dead letters - signifiers rendered powerless (decontextualized) by distance. As more than one character remarks, 'it all looks different here'.

To add to the unease, Weir intercuts all this with shots of the landscape - huge, forested, confrontationally empty. There's a sense of something staring back, unimpressed, 'personified' by the oddly biomorphic shapes within Hanging Rock itself.

One can still feel the reverberations, twenty five years on. There are definite echoes of 'Picnic...' in 'The Piano', 'The Virgin Suicides', and the whole slew of films that erstwhile Antipodean Sam Neill rather dodgily categorises the 'Cinema of Unease'. If you really want to freak yourself out, try watching this and 'The Quiet Earth' in the same sitting. You may never feel absolute faith in your ties to the physical universe again.