IMDb > The Road from Coorain (2002) (TV)

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Down 25% in popularity this week. See why on IMDbPro.
Sue Smith (screenplay)
Jill Ker Conway (dramatisation: of the memoir by)
View company contact information for The Road from Coorain on IMDbPro.
Release Date:
14 December 2003 (USA) See more »
Plot Keywords:
8 wins & 2 nominations See more »
DVD Playhouse--february 2010
 (From The Hollywood Interview. 15 February 2010, 11:43 AM, PST)

User Reviews:
A very beautifully done, moving film- yet... See more (3 total) »


  (in credits order)

Juliet Stevenson ... Eve

Richard Roxburgh ... Bill
Katherine Slattery ... Jill

Tim Guinee ... Alec

John Howard ... Angus
Alex Tomasetti ... Jill (age 11) (as Alexandra Tomasetti)
Alexandra Galwey ... Jill (age 5)

Bernard Curry ... Bob (adult)

Sam Dunn ... Bob (age 16)
Andrew Keating ... Bob (age 11)
Sean Hall ... Barry (adult)
Mitchell Firth ... Barry (age 14)
Sebastian Lamour ... Barry (age 9)
Raymond 'Jack' Crawford ... Jack Kelly
Dempsey Knight ... Ron Kelly
Harold Hopkins ... Rob McLennan

Felix Williamson ... Milton
Jenny Vuletic ... Marjorie Jacobs

Bill Young ... John Brooks
Kath Perry ... Miss Everett (as Kathryn Perry)
Chris Pattinson ... Policeman (as Chris Scott)

Christopher James Baker ... Danny (as Christopher Baker)

Ewen Leslie ... Reg
Tim Page ... Bureaucrat
Dan Forrester ... Gardener
Stewart Armstrong ... Geoff Coglan

Directed by
Brendan Maher 
Writing credits
(in alphabetical order)
Jill Ker Conway  dramatisation: of the memoir by
Sue Smith  screenplay

Produced by
Penny Chapman .... producer
Richard Clendinnen .... line producer
Rebecca Eaton .... executive producer
Tim Pye .... executive producer
Original Music by
Stephen Rae 
Cinematography by
Tristan Milani (director of photography)
Film Editing by
Suresh Ayyar 
Casting by
Nikki Barrett 
Production Design by
Josephine Ford  (as Jo Ford)
Art Direction by
Tony Campbell 
Set Decoration by
Blossom Flint 
Karen Harborow 
Costume Design by
Terry Ryan 
Makeup Department
Lindy MacLeod .... makeup artist
Pam Murphy .... hair supervisor
Kirsten Veysey .... makeup supervisor
Production Management
Djuro Bandur .... unit manager
Michael Gill .... unit manager
Colleen Kennedy-Gill .... unit manager (as Colleen Kennedy Gill)
Helen Panckhurst .... post-production supervisor
Fiona Schmidberger .... production manager
Sarah Watts .... post-production supervisor: Frame, Set & Match
Second Unit Director or Assistant Director
Giovanni Pacialeo .... second assistant director (as Johnny Pacialeo)
Tanya Phegan .... third assistant director
Wade Savage .... first assistant director
Art Department
Cameron Arthur .... carpenter
Phil Brown .... stand-by props
Jacinta Hennessy .... set dresser
Dougal Linnett .... carpenter (as Dougal Linnet)
Peter McNee .... construction manager
Ross Murdoch .... carpenter
Chris Tomkins .... set dresser
Chris Vance .... carpenter
Daniel Wheeler .... carpenter
Brendan Zachariah .... carpenter
Damien Drew .... set designer (uncredited)
Joe Kiely .... set dresser (uncredited)
Sound Department
Helen Brown .... foley artist
Ben Chesterman .... sound effects editor
Bob Clayton .... sound recordist
Les Fiddess .... foley artist (as Les 'Spider' Fiddess)
Peter Graham .... sound assistant
Jon Hemming .... dialogue editor (as John Hemming)
Jon Hemming .... foley engineer (as John Hemming)
Mauricio Hernandez .... adr engineer
Mauricio Hernandez .... foley engineer
Phil Judd .... sound mixer
Scott Piper .... boom swinger
Liam Price .... sound editor: Atmos
Liam Price .... sound effects editor
Phil Winters .... adr editor
Phil Winters .... dialogue editor
Alex Wong .... sound editor: Atmos
Special Effects by
Jeff Little .... senior special effects technician
Jeff Little .... special effects coordinator (uncredited)
Jeff Little .... special effects technician (uncredited)
Peter Stubbs .... special effects (uncredited)
Visual Effects by
Steve McGillen .... visual effects
Phil Stuart-Jones .... visual effects
Brittany Baldwin .... stunt double
Danny Baldwin .... stunt coordinator
Camera and Electrical Department
Graeme Cook .... best boy
Brett Cooper .... electrician
Rachel Fairfax .... clapper loader
Brendan Gribble .... focus puller
Paul Johnstone .... gaffer
Laurie Kirkwood .... camera operator: "b" camera
Jason McPhee .... best boy grip
Hiroyuki Muizuno .... focus puller
Greg Tidman .... key grip
Lisa Tomasetti .... stills photographer
Mark Watson .... electrician
Rob Wilkin .... grip
Casting Department
Nathan Beattie .... casting assistant
Gabrielle Healy .... extras casting
Natalie Wall .... casting assistant
Costume and Wardrobe Department
Mel Dykes .... costume supervisor
Julie Frankham .... cutter sewer
Lucia Franze .... seamstress
Amanda Irving .... stand-by costumer
Elly Kamal .... costume buyer
Robin Scully .... assistant stand-by costumer
Judy Tanner .... costume buyer
Suzette Waters .... wardrobe supervisor
Editorial Department
Ben Broad .... conform editor
Al Hansen .... colorist (as Alan Hansen)
Rebecca Murphy .... assistant editor
Music Department
Paul Brown .... dance arrangements by
Graham Jesse .... musician: tenor saxophone (as Graham Jessie)
David Pudney .... musician: bass
Bill Risby .... musician: piano
Gordon Rytmeister .... musician: drums
Ian Shanahan .... bass: recorder
Greg White .... music mixer
Blain Whittaker .... musician: saxophone
Other crew
John Alsop .... script editor
Angaline Atkins .... runner
Elaine Boyd .... production accountant
Anna Certoma .... runner
Lou Cifuentes .... safety supervisor
Robin Clifton .... location manager
Merilyn Cook .... production secretary
Vanessa Critchley .... production coordinator
Lindy Davies .... voice-over coach
Karen Mansfield .... continuity
Victoria Mielewska .... dialogue coach: Ms. Stevenson
Clare Mirabello .... legal services: Tress Cox and Maddox
Amanda Russell .... legal services: Tress Cox and Maddox
Kat Slowik .... assistant accountant
Peter Thompson .... legal services: Tress Cox and Maddox
Terry Lee .... aerial helicopter pilot (uncredited)
Marguerite O'Sullivan .... unit nurse (uncredited)
Robert Bruning .... the filmmakers wish to thank
Alistair Walsh .... the filmmakers wish to thank
Annabelle Walsh .... the filmmakers wish to thank
Hugh Walsh .... the filmmakers wish to thank
John Walsh .... the filmmakers wish to thank

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97 min


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13 out of 13 people found the following review useful.
A very beautifully done, moving film- yet..., 2 May 2004
Author: trpdean from New York, New York

I've strongly mixed feelings about this. First, it is a wonderfully tightly woven script - time and again at just the right moments, we have our heartstrings pulled by Jill Ker's memories of moments earlier in the film. The film shows as well as any films I can think of, what a happy marriage looks like - not easy to do.

It also shows brilliantly the warmth between a mother and her young daughter. The chemistry between the actress playing the very young Jill Ker and Juliet Stevenson is really striking. We are moved again and again by the images, the touches between people in the movie.

The actor playing the father - and Juliet Stevenson are both absolutely extraordinary.

My chief problem is that I'm not sure that I so like the college-aged Jil Ker - this may not be the fault of the movie. But if you don't warm to Jil Ker as an 18-23 year old, if you don't wholly take her side in the struggle against being "held back" by "mother-Australia", the latter part of the movie loses you. It seems to me that the movie over-dramatizes the degree to which the mother "fell apart" and has become a monster after the rains come to Coorain.

What widow doesn't more strongly identify with her surviving son(s)? What widow doesn't fear loneliness if their children are to move 8,000 miles away? What mother of a lone 21 year old daughter is pleased to see her having an affair with a foreigner on his occasional visits - a foreigner who is married with two small children? For that matter, what widow yearns to move to the Outback without children or husband? These all seem perfectly natural reactions - yet the screenplay/director do all they can to portray the mother as some monster for having such attitudes/reactions. Since while watching you attribute to the daughter, these over-the-top reactions to her mother - it causes you to not like the daughter terribly much. And that's certainly the opposite reaction to the director's desire.

I also felt that the movie was too sweeping in its summing-up of national characteristics - American, British and Australian. Neither resentment of success nor emotional reserve is unique to Australia! Whether it's a Western movie, or books such as O Pioneers or Giants of the Earth, one senses pretty hefty "emotional wet weather gear" among Americans at least as much as Australians. Nor would I say that Australians were any more rigid than Americans or the English.

I'm not sure why this is - perhaps the degree of obstacles felt - but there is such a huge number of Australian feminist stories - e.g., My Brilliant Career, Road from Coorain, Muriel's Wedding. Others such as Germaine Greer tilt at the same windmills. There is therefore, perhaps to an unavoidable extent, a sameness to such as My Brilliant Career and Road from Coorain. I disagree with the earlier reviewer, who wrote that one would expect a strong conflict with the father to lead to the stance - I would actually expect an identification with the father and conflict/embarrassment/perhaps even shame over the mother's very different life.

Still and all, this movie has many haunting moments; it's often quite powerful, and should have been released to movie theaters.

I'd definitely recommend it.

Oh, to the reviewer who wrote sneeringly that Hollywood would have botched this - I see no reason why. Such Hollywood movies as King of the Hill, Another Woman, A Tree Grows in Brooklyn, The Dark at the Top of the Stairs, Interiors, Country, I Remember Mama, Picnic, A Beautiful Mind, The Corn is Green, Three Cheers for Miss Bishop, Little Man Tate, Days of Heaven, Inventing the Abbots, all share elements with this powerful movie.

I definitely recommend this - it's awfully good.

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