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1 ’Fringe Dwellers1
appears at Sheldon
By Kevin Cowan
Senior Reporter
“The Fringe Dwellers,” Sheldon
Film Theater. Screening Thursday
through Sunday. Matinee on Satur
day at 3 p.m.
Australia; 98 minutes.
Bruce Beresford’s “The Fringe
Dwellers” depicts racism and cultural
oppression through aboriginal eyes.
Though the film is plagued with a bit
of narrative mislogic — rough transi
tion in a few places — it manages to
produce helpless, rhetorical energy.
serving box of com flakes, alongside
other foodstuffs that will not render
breakfast for her family. The problem
is easily solved by “borrowing” milk,
bacon and eggs from the next-door
neighbor. Joe, the father (Bob Maza),
was going to look for work today, but
the pillow monsters won in the end.
No one is upset with him because
working, according to the male abo
rigines, is always a last-ditch effort.
Enjoyment, relaxation, life in the
tribal unit rank top notch.
Bcrcsford represents the plight of
the aborigine witli contemporary real
ism. Inonly a couple of instances does
he make the jump to aboriginal mys
ticism — a path of knowledge only
slightly more dramatic than the Na
tive American’s representation of a
higher reality. So much of the ancient
mysticism represented in Australian
cinema is presented with such surreal
ist notions that it tends to come off as
mere science fiction. Bcrcsford’s use
of aboriginal wisdom — knowledge
through unification with die elements
andallthat—ismoresubtlc, implying
Movie Review
Enter the world of Trilby, the
daughter of an aboriginal family on
the outskirts of an obscure, white
dominated city in Australia. The tribe
exists in what the average white per
son would consider dire poverty.
■ Actually, technically,the tribe lives in
■ poverty from a financial standpoint.
But a steady cash How is not in the top
prioritiesof thcaborigine. Theaborig
ine, as portrayed by Bcresford, oper
atesonacommunal system of survival
and unconditional positive regard; or,
simply, work when you have to, share
what you have and concern yourself
with tribal cohesion. Trilby,played by
Kristina Nchm, at times holds mixed,
late adolescent emotions, pulling her
between the earthen world of her par
ents and the superficial materialist
world of the white supremacist.
Trilby, in essence, wishes she was
white, in one instance, then suddenly
flashes with intense cultural pride.
But what manifests as pride on the
surface is only deep-rooted embar
rassment and latent inferiority. She
wants to have both sides.
Mollic, Trilby’s mother (Justine
Saunders), rises from next to her snor
ing mate. She reaches for the talcum
powder, gives herself a quick dusting
and heads through tom drapery into
the kitchen. There she opens one of the
cabinets, exposing a half-open one
only a sheer sense ol verstchcn —
knowledge through intuition. The
problem with the film’s religious
connotations is the matter of sub
stance and placement. Beresford, in
attempting to give the aboriginal
proper representation, seems to sim
ply toss in the archaic wisdom and
surreal experiences merely as a side
bar in the narrative progression. Thus
an addition of substance with nothing
to tic it to. What is the purpose of
including mysterious acts, other than
dramatic construction, without also
providing a springboard from which
the ideology can draw meaning. It’s
an open-minded attempt, but it
doesn’t really move the film along.
“The Fringe Dwellers” sports a
simple, easy-to-follow narrative.
If you’re not a big foreign film fan,
“The Fringe Dwellers” is an ideal film
to begin with. Its structure is simple,
its content straightforward, and its
implications applicable and timely, to
be sure.
'The Brothers Karamazov':
anarchy of another kind
BROS from Page 10
see five guys who make you wish
you could take up a career as a fool.
For those who need further evi
dence of the comic legitimacy of
the Karamazov Brothers, they
were the juggling Arabs in the film
“Jewel of the Nile” with Kathleen
Turner and Michael Douglas.
The Karamazovs — Alyosha,
Fyodor, Dmitri, Ivan and the
Champ — swear by spontaneity,
saying, "We guarantee spectacular
spontaneity — we’ve been re
hearsing all day.” Despite this, it is
clear the Karamazovs are daz
zlingly talented. Their skills, from
strange intellectual ramblings to
the all-important juggling, are
seemingly impossible. But there
they are. Before your eyes.
It’s not as if the Karamazovs
don ’ t give the audience a chance to
prove that they are not infallible,
though. At each performance Kar
amazov fans are invited to toss any
three items onto the stage they
want to see Champ juggle. Type
writers, food, kitchen appliances,
bottles . . . anything. Well, any
thing but “live animals or anything
that would prevent the Champ
himself from continuing as a live
animal,” as they put it
There are limits to everything,
even anarchy.