Picnic at Hanging Rock (4K UHD)

Director: Peter Weir
Screenplay: Cliff Green (based on the novel by Joan Lindsay)
Stars: Rachel Roberts (Mrs. Appleyard), Vivean Gray (Miss McCraw), Helen Morse (Mlle. de Poitiers), Kirsty Child (Miss Lumley), Anthony Llewellyn-Jones (Tom), Jacki Weaver (Minnie), Frank Gunnell (Mr. Whitehead), Anne Lambert (Miranda), Karen Robson (Irma), Jane Vallis (Marion), Christine Schuler (Edith), Margaret Nelson (Sara), Ingrid Mason (Rosamund), Jenny Lovell (Blanche), Janet Murray (Juliana)
MPAA Rating: PG
Year of Release: 1975
Country: Australia
Picnic at Hanging Rock
Picnic at Hanging Rock

The opening of Peter Weir’s Picnic at Hanging Rock is, like the rest of the film, purposefully and brilliantly enigmatic. Although a work of complete fiction based on a popular 1967 novel by Joan Lindsay, it nonetheless opens with a title card that implies ever so subtly that it is based on an actual incident (just as Lindsay’s novel did), going so far as to give us a precise date (St. Valentine’s Day 1900), a location (Appleyard College, Educational Establishment for Young Ladies), and a specific incident (three young girls disappearing without a trace). Unlike, say, the fake “based on a true story” title card that opens the Joel and Ethan Coen’s Fargo (1996), the opening of Picnic at Hanging Rock doesn’t try to purposefully mislead us, but rather to entice our imaginations with the prospect of truth. It is but the first brick in Weir’s evocative, impressionistic masterwork, drawing us into the story by teasing us with a sense of mystery that will never be resolved and playing that fine line between fiction and reality.

The first half of the film takes place over a single day, as the schoolgirls at Appleyard College travel a short distance from their school grounds to picnic in the shadow of Hanging Rock, a “marvel of geology” that juts out of the Central Victoria countryside in Australia. Weir and cinematographer Russell Boyd, with whom he would work again on The Last Wave (1977), Gallipoli (1981), and The Year of Living Dangerously (1982), establish from the very beginning a sense of foreboding by introducing the rock as it emerges from beneath a heavy blanket of slowly dissipating morning mist. Even if we know it is just a lifeless formation created by magma forcing its way through a vent and then congealing more than six million years ago, the manner in which Weir and Boyd photograph it and the interplay of music and heightened natural effects on the soundtrack suggest a presence, a force, something sinister and threatening hiding in the craggy formation, which is enhanced all the more by what appear to be faces in the stone. It is as if the rock is truly alive, intently watching those around it.

The threatening nature of the rock, both subtle and obvious, is paralleled by the girls’ school, which is run with stern authority by Mrs. Appleyard (Rachel Roberts). A rigid woman of little humor and even less tolerance for deviation, she is introduced lecturing the girls about their outing, warning them of the dangers the rock presents and how she will not allow any “tomboy foolishness.” Her Victorian sensibilities present an air of repression that hangs over much of the film, although she also evinces a sense of purposeful cruelty that is most evident in her treatment of Sara (Margaret Nelson), an orphan whose tuition bill has not been paid and is therefore forbidden from attending the picnic.

As the film is a study in dualities, Mrs. Appleyard’s repressive presence is balanced by Miranda (Anne Lambert), one of the schoolgirls who is best described as ethereal. While Weir photographs all of the girls with a hazy, soft-focus delirium that makes them seem simultaneously angelic and eroticized, Miranda stands apart, a free spirit who appears to be in touch with something outside the confines of this world. Her gaze is rarely directed at others in her presence, but rather wanders skyward, as if she is aware of things that others are not (an early line of dialogue in which she refers to her imminent departure also suggests a kind of preternatural ability to sense the future).

Miranda and two other girls disappear while climbing on the rock, as does one of the teachers who goes looking for them. The second half of the film takes place after the disappearances, as those left behind struggle to make sense of the inexplicable event. Mrs. Appleyard tries to maintain control even as parents begin pulling their girls from the school, while Tom (Anthony Llewellyn-Jones), a young man who was also picnicking near the rock with his wealthy parents and was captivated by a fleeting glimpse of Miranda as she made her way toward her fate, becomes obsessed with finding them. The mystery deepens when one of the missing girls, Irma (Karen Robson), is found alive, although in a physical condition that does not necessarily match with her having been lost in the Outback for a week. Of course, she has absolutely no memory of what has happened to her or the others, so her discovery deepens the mystery, rather than resolves it.

The film’s social and cultural themes come into sharper focus here, as the forced orderliness of the Appleyard School begins to unravel in the face of something that defies human explanation. While the look of the film has often been described as “nostalgic,” it is quite the opposite, as it is fundamentally critical of the social mores it depicts, from the absurdity of extreme class divisions, to the ridiculousness of Victorian notions of female propriety (the girls are told that they are allowed to remove their gloves while lunching in the hot summer sun, and the first concern when Irma is found is that she is still “intact”).

Because the mystery in Picnic at Hanging Rock has no obvious resolution, Weir adopted the style and tone of European art cinema, shifting our attention away from plot points and narrative development by immersing us in a hypnotic atmosphere of sound and image. Some have found the film to be frustrating—even infuriating—because it doesn’t solve the mystery or even leave us with enough clues to draw reasonable conclusions, but it is this very enigma that makes it such a captivating experience (the scene in which Irma is violently accosted by all the other girls at the school who are furious that she can’t tell them what happened must have been a purposeful bit of meta-cinematic commentary on what Weir imagined awaited him from some members of the audience).

The missing girls are just a red herring—Hitchcock’s Macguffin—the excuse to weave an impressionistic, haunting mood piece that imbeds in our minds images that never quite dissipate. Weir works in multiple registers throughout the film, giving us images that are quietly erotic (a line of girls all tightening each other’s corsets), sublimely beautiful (Miranda leaping over a brook in slow motion), and ominous (Miranda cutting into a cake with a large butcher knife). The shot in which the girls disappear into the rock, drawn as if in a trance and never to be seen again, while a fourth girl screams in terror, surely ranks as one of the most artfully, unnervingly horrifying moments in a film that is not explicitly a horror film. The very fact that Picnic at Hanging Rock can be viewed as a horror film is testament to its complexity, and it is no small surprise that it played a central role in the renaissance of Australian cinema in the mid-1970s and helped inspire a new subgenre of period films. Yet, despite some attempts at imitation, no one was able to recreate Weir’s indelible mixture of mood and atmosphere, which makes Picnic at Hanging Rock such a truly memorable experience.

Picnic at Hanging Rock Criterion Collection Director-Approved 4K UHD + Blu-ray

Aspect Ratio1.66:1 (4K UHD) / 1.78:1 (Blu-ray)
  • English DTS-HD Master Audio 5.1 surround
  • SubtitlesEnglish
  • Interview with director Peter Weir
  • Making-of documentary
  • A Recollection . . . Hanging Rock 1900 (1975) on-set documentary
  • Homesdale (1971), directed by Peter Weir
  • Trailer
  • Insert booklet fea
  • turing an essay by author Megan Abbott and an excerpt from film scholar Marek Haltof’s 1996 book Peter Weir: When Cultures Collide
    DistributorThe Criterion Collection
    Release DateApril 9, 2024

    Picnic at Hanging Rock was one of Criterion’s last laserdisc releases and one of its first DVD releases back in 1998, and a remastered edition was released on Blu-ray in 2014. So, it was high time for the film to be revisited, and Criterion has done wonders, presenting us with a new transfer that was made from the original 35mm camera negative, which was deposited at the National Film and Sound Archive of Australia, and multiple interpositives that was supervised and approved by director Peter Weir and cinematographer Russell Boyd. The scan and the restoration were done in 4K, giving us an absolutely marvelous presentation. (It should be noted that this is the same director’s cut that debuted on home video with Criterion’s laserdisc and DVD, which, contrary to most director’s cuts, is actually about seven minutes shorter than the theatrical version. I would argue that the original theatrical version should have been included, as well, as Second Sight did with their near simultaneous 4K release, but that is just the completist in me grumbling.) The new 4K disc also properly frames the film in its original 1.66:1 theatrical aspect ratio, which was not the case with the earlier Blu-ray, which was in 1.78:1 (this explains why the Blu-ray in this package is in the slightly different aspect ratio). The increased resolution of the image and the extensive restoration has rendered the images with such exquisite detail and fine contrast that it is like watching the film for the first time. The soft-focus cinematography and beautiful natural light are gorgeously presented, and colors have a slightly desaturated look that conveys the sense of looking at old photographs, but without looking washed out. The soundtrack appears to be the same as the one included on the earlier Blu-ray: a six-channel surround mix that was created from the original 35mm magnetic tracks under Weir’s supervision, which is presented in lossless DTS-HD Master Audio 5.1 surround. The soundtrack is absolutely crucial to the film’s overall effectiveness, as it immerses us in the atmospheric musical score and the subtle layers of natural and ambient sounds that make us feel like we’re right there beneath Hanging Rock.

    The impressive array of supplements that appeared on Criterion’s 2014 release are all included here on the repackaged Blu-ray disc, thus leaving all the bitrate on the 4K disc for image and sound. While there is no audio commentary (which I would have loved to have seen included), there is a nice introduction by film scholar David Thomson and an excellent and insightful 25-minute interview with director Peter Weir from 2003. There is also a half-hour documentary about the making and reception of the film that features additional interviews from 2003 with executive producer Patricia Lovell, producers Hal McElroy and Jim McElroy, and several cast members. From the archives we get A Recollection . . . Hanging Rock 1900 (1975), an on-set documentary hosted by Lovell that features a good deal of on-set footage and interviews with Weir, actor Rachel Roberts, and source novel author Joan Lindsay. Additionally, there is a lengthy theatrical trailer in pretty rough condition and Homesdale (1971), a 50-minute black comedy directed by Weir that was apparently the film that convinced Picnic’s producers that he was the right man to direct. The insert booklet includes an essay by author Megan Abbott and an excerpt from film scholar Marek Haltof’s 1996 book Peter Weir: When Cultures Collide. The only loss is a paperback copy of Joan Lindsay’s source novel, which was included with the 2014 Blu-ray set.

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    Overall Rating: (4)

    James Kendrick

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