James Reyne, the iconic Australian musician, reflects on a forgotten film that holds a special place in his heart. In the 1980s, Reyne was studying acting at the Victorian College of the Arts when he met Vera Plevnik, a talented student who would later become a Logie Award winner for her role in the TV series 'The Sullivans'. Their relationship blossomed, but fate had other plans. Plevnik's untimely death in a car accident in 1982 while filming 'Going Down' brought them back together in an unexpected way.
'Going Down' is a gritty, energetic drama that captures the essence of youth, drugs, and the vibrant nightlife of Sydney in the 1980s. Directed by Haydn Keenan, the film showcases Reyne's musical talents, as he sings 'What's It Like' over a tracking shot of a chaotic party scene. The movie centers around four young women, played by Plevnik, Tracy Mann, Julie Barry, and Moira MacLaine-Cross, as they navigate their final night out before one of them leaves for New York. Despite its critical acclaim, the film struggled to find an audience upon its initial release in 1983 due to its controversial nature.
The cast of 'Going Down' featured a diverse range of talented individuals, including David Argue, Esben Storm, and cameos by Hugh Keays-Byrne, Claudia Karvan, Charles Waterstreet, and Gary Foley. Reyne's love for the film stems from its authenticity, as it accurately portrays the drug culture and share house living of the era. He recalls the film's raw and relatable nature, making it a memorable experience.
Years later, an American filmmaker and distributor, Elizabeth Purchell, discovered the film in a New York video store and recognized its potential. She appreciated its female-centric narrative and evocative portrayal of the time and place. After a meticulous restoration process, 'Going Down' received a boutique cinema release in the US and is now gaining a second life in Australian cinemas.
Reyne expresses his enthusiasm for the film's revival, highlighting the authenticity and energy that emerged from its production challenges. He appreciates the film's focus on young women, a rarity in contemporary Australian cinema at the time. Keenan, the director, shares Reyne's excitement, emphasizing the film's historical significance and the joy of seeing it restored to its former glory.
'Going Down' serves as a testament to the explosive energy of Australian culture in the 1980s, reflecting the vibrant nightlife and live music scene. Keenan laments the current challenges of raising funds for feature films and the competitive nature of getting them into cinemas. He views the film's revival as a celebration of the old-school film family's dedication and a chance for new audiences to discover a different era of Australian cinema.
