Wolf Creek: Season 1
Revenge is arguably one of the most ancient themes every used as the foundation of a story. Prominent employed in every mythology regardless of the originating culture an aspect of its universal natures as an intrinsic component of human nature.it was only natural the revenge should become a standard genre in movies almost immediately after its emergence has one of the most powerful means of expression humanity has ever known. For a story to maximize its potential effectiveness, it must quickly establish an emotional connection with the audience. We have all experienced this exceptionally intense emotion. Thoughts of murderous rage are often conhuried they are abated by our socialization and self-preservation, the inevitable override of this innate propensity for violence is unsatisfying for many. The need to direct an uncontrollable fury at the source of our unquenchable ire eremains deep seated in our minds. The stereotypical instrument in such movies providing the cathartic release for the viewer is typically male, the traditional gender for action driven retribution. When the occasion arises where the female of our species is permitted to seek revenge the rational is frequently as a novity based on the blatant plot contrivance of reversing expected behavior mandated by gender. Some of the most compelling stories with female protagonist craft the character as resting on a purely human level. Films like ‘I Spit on Your Grave’ or ‘Girls versus Boys’ admittedly induce the necessary visceral release that is the goal of any example of the genre, but there are undeniable aspects of the motivation predominantly gear towards women. Among the most recognizable cinematic examples of a ‘pure female drive revenge movies,’ many might consider Quentin Tarantino’s ‘Kill Bill’ saga as the definitive example. An Australian film, ‘Wolf Creek’ took the premise in a different direction. The 2005 film and its sequel exhibited thematic leaning conducive with an equally primitive, visceral imperative, survival. Those movies became the basis for a television series of the same name. The American release of the first season is the topic of this consideration. Before proceeding it is germane to the discussion that the core motivation is an all-consuming need for vengeance.
The Thurgood’s, an American family visiting Australia camping in the expansive and sparsely settled Northern Territory. Most Americans are ill-equip to comprehend the sheer immensity of this nation continent. It is entirely possible to drive for many days without encountering any signs of civilization. This country possesses a degree of isolation of a scale beyond the understanding of the majority our countrymen. The patriarch of the small family unit is Roland Thorogood (Robert Taylor), a law enforcement officer back in the States. Accompanying him on the trip was his wife Ingrid (Maya Stange) and their two kids, their son, Ross (Cameron Caulfield), and his nineteen year old sister Eve (Lucy Fry). Long typical of an American teenager, Eve is not overly excited about taking such a long trip with the family, particularly so far away from home. Exacerbating her discontentment is the unconscionable back that the Australian deserts are not known for their cell phone coverage. The only access bone can provide this to the limited amount of files physically on its drive. Parents and brother are trying to enjoy themselves with the incredible scenic beauty of the setting; Eve tends to sit in the camper repeatedly listening to the phone, perpetually connected by her earbuds. Although this is an annoying reflection of what many American teens are like, in this particular instance such sullen behavior saved her life. Was stopped by a small body of water crocodile lurches out is about to grab one of them until a shot rings out, part of the crocodile’s skull explodes in it that in the water. As it turns out this savior is an actual inhabitant of the outback, Mick Taylor (John Jarratt). As expected the man is short on social amenities is quite obviously the person who knows how to deal with such a hostile environment. Roland invites him back to their camper to share dinner with them as a means of thanking him. Taylor accepts, and after dinner, they gather around the campfire to listen to his stories of life in the Australian wilderness. He retires early preferring to soak in the camper listening to her music.
The discussion seems to be going well until quite unexpectedly tell us there Roland in the leg and proceeds to slaughter with three members of the family. As Taylor goes back into the camper to search for Eve, you stop listening to the music long enough to realize what was going on, exiting quickly out the vehicle. Taylor seems to enjoy himself as he mutilates the bodies of his most current victims and it turns out that he is an undetected serial killer for many years. The sheer volume of the territory in the sparse police presence made it relatively easy for him to avoid detection on an exceptionally prolonged killing spree. Before too long even as found wandering by a pair of birdwatchers and brought back to the authorities. Practically he tells Inspector Darwin (Damian De Montemas), about the slaughter of the family but is little that they can do watching a manhunt format of standard description over continent size territory. Eve is not about to let in a ring this crime go unanswered and decides to set out alone to find him. Only a semi-serviceable camper, but the family had a vacation in an adult that becomes attached to her; this pretty 19-year-old girl embarks upon a dangerous journey into the unknown.
Regardless of how determined the person might be an attractive young woman of the slight frame is no match for some of the exceptionally burly men gravitates towards life in the outback. Within the first couple of episodes, it appears as though a pervasive theme is going to be Eve escaping attempted rape. While this might seem to be a hackneyed approach the story, the writers handle the effect these circumstances have on the development of Eve’s character created an unusual twist to the story when one man begins uncomfortably close to appropriate the apparent intention to assault her; Eve feigns compliance while reaching for a hidden gun. He backs off but is confident that she will not show him and becomes very surprised when April repairs into his leg. Even immediately becomes concerned with the well-being and even help dress the wound. But in a kindness does not completely overshadow good sense as she does leave them behind as she drives away. She winds up in a small gas station/general store run by an aboriginal woman. She is certain – Eve is not American but Irish, the woman is never wrong about accents. Eve chops off her hair with a hunting knife to appear less attractive. The general store becomes a central location for most of the principal characters stops by in search of a determined young woman. The proprietor has a stream of men inquiring about the young woman including the detective, a would-be attacker in the serial killer. Since they are looking for an American long blonde hair, the woman does not associate the description with the woman she saw. Unfortunately, the serial killer seems to make the connection. A scene such as this also introduce the audience to the incredible use of the bleak scenery without imagery becomes exceptionally important as part of telling the story. There is always coursing near the general store with each path, identical in appearance, leading off to a different location ultimately alternate possibilities.
The show run and director of the series, Greg McLean, was the screen right of 2005 original screenplay excelling admirably in the shift from a slash and dash flick into a taut, revenge driven television series. The typical problem with going for me will be to a tv show and encountered during the transition of a standalone movie to a television series is dealing with the numerous aspects of format changes. The most significant are that a movie is required to have a definite beginning middle and end while a television show needs to be episodic; each discrete chapter the ticket is the building upon the previous episode and segueing into the next. Mr. McLean has undertaken this challenge with a rare panache and even less constant attention to detail. He avoided one of the most common pitfalls by not trying to stay too closely to the original movie by creating different characters and circumstances based on a similar set of circumstances. The result is a complete reimagining of the underlying themes leading to a strong foundation board engaging series. Several aspects that were disturbing for many critics may have in part be due to their youth that hve come to expect a myriad of bloodshed and action rather than the tightly woven and meticulously crafted psychological thriller achieved by the series. Thankfully season two was on its way; the series is just too well-made to be a one season wonder.