The Shiralee

Moviecut—The Shiralee

Peter Finch's first film for Ealing was 'Eureka Stockade' and nearly ten years later he returned down under to make one of their last Australian productions; a film of which very few have heard but was actually the star's personal favourite of his own films, considering it most representative of his antipodean roots. Finch is for once cast as a bona fide Australian and uncharacteristically rough round the edges. The film is a drama with an Australian setting rather than a travelogue with settings rather plainly rendered in black & white. A strong female contingent includes Tessie O'Shea, Elisabeth Sellars and a very young Rosemary Harris.

A really enjoyable film that shows a mans love for his little daughter and her love for him. He sometimes dismisses her but comes to realise that he is more fond of her than he cares to admit when she nearly dies. Also the attractive shopgirl reminds us how nice women were in the fifties!! Great film - dated of course - but still wonderful. Just thought it ended rather abruptly and left us wanting more.........

Given the plot line, this could easily have been cutesy or mawkish. It isn't, though. Peter Finch is brilliant in his understated playing and the supporting cast is very fine. Maybe because I've known men estranged from their wives who have taken their children on their quests through life, I was fascinated and very moved. The last half or gets a little busy and the (anti)hero's leaving his daughter with an unknown wanderer is implausible. But Finch holds the hole together brilliantly. And the actress playing his little girl is a natural. She never tries to charm us. Perhaps that is a credit to the director as much as to the performer. There are simialrities (if memory serves) between this and the later, better known and lauded "Paper Moon." Of the two, I prefer this by a hundred thousand miles. It is a charmer and a bit of a heart-breaker -- much like the character played by Finch.

Peter Finch is terrific as a traveling swagman, traversing the Australian outback in search of work and shelter. Finding his Sydney based wife shacked up with another man, he takes his daughter (Dana Wilson) and resumes his wandering ways. The film does a good job of keeping a lid on sentiment and features outstanding cinematography by Paul Beeson, who usually worked on less inspired fare like Tarzan Goes to India, Die Monster Die!, and Starcrash. One of the last efforts of Ealing Studios, and a good one, though certainly not on a par with their Alec Guinness comedies.