“Newsfront,” released in 1978, stands as a semi-legendary piece from the “Golden Age” of Australian cinema. Directed by Philip Noyce, who would go on to achieve international acclaim, the film is co-written by Bob Ellis, a prominent figure in Australian screenwriting.
Despite its historical significance and the talent involved, “Newsfront” has garnered mixed reviews, often criticized for its lack of narrative cohesion and engaging drama.
Set against the backdrop of the 1940s and 1950s, “Newsfront” chronicles the rivalry between two competing newsreel companies during a time of significant social transition in Australia. The film captures the essence of an era when newsreels were a primary source of information for the public, reflecting the changing landscape of media and society. However, while the premise is intriguing, the execution leaves much to be desired.
Critics have pointed out that “Newsfront” lacks a cohesive storyline, often feeling more like a series of disjointed scenes than a unified narrative. The film features characters sitting around a recording studio, engaging in discussions that often veer into trivial political debates. This lack of focus can make it challenging for viewers to become invested in the characters or their journeys. The final scene, intended to be uplifting, instead falls flat, leaving audiences with a sense of disappointment rather than inspiration.
Noyce’s direction, while technically proficient, has been described as slick yet bland. His ability to create visually appealing scenes is evident, but the film’s overall impact suffers from a lack of emotional depth. This may explain why Hollywood soon came calling for Noyce, as his skills in crafting polished visuals were recognized, even if the storytelling was lacking.
The film does feature moments of soap opera-like drama, particularly in the personal lives of its characters. Bill Hunter delivers a notable performance as a newsreel cameraman who navigates the complexities of relationships, swapping his first wife, played by Angela Punch, for the character portrayed by Wendy Hughes. Meanwhile, Chris Haywood plays a Cockney immigrant cameraman whose life takes a tragic turn when he marries a girl after getting her pregnant, only to meet a watery demise in a flood. These personal stories add a layer of intrigue, but they often feel overshadowed by the film’s broader narrative shortcomings.
Despite its flaws, “Newsfront” is not without its redeeming qualities. The performances, particularly from Hunter and Haywood, stand out as highlights. Hunter’s charisma and Haywood’s ability to convey vulnerability bring a level of authenticity to their roles, making them relatable even in a film that struggles to find its footing. Additionally, Ellis’ trademark wit occasionally shines through, providing moments of levity amidst the otherwise lackluster dialogue.
In summary, “Newsfront” serves as a fascinating artifact of Australian cinema, showcasing the talents of its cast and crew while also highlighting the challenges of storytelling in film. While it may not achieve the dramatic heights one might hope for, it offers a glimpse into a pivotal time in media history and the evolution of Australian film. For those interested in the development of cinema in Australia, “Newsfront” remains a noteworthy, if flawed, entry that reflects the complexities of its era. As viewers engage with this film, they are invited to consider not only the art of filmmaking but also the cultural shifts that shaped the stories being told.
