Film Review:



The madness and futility of the First World War has been the inspiration for many fine films, beginning in 1930 with Lewis Milestone’s version of the Erich Maria Remarque novel, ‘All Quiet on the Western Front’, which was a daring story for its time, in that it showed the horrors of war from the perspective of German infantrymen.

In Sam Mendes’s ‘1917’, it is the British with whom we sympathise, but in other ways, the themes are similar - incompetent and ego-driven officers, and troops who are treated as cannon fodder. Mendes, however, also gives us officers doing their best in impossible circumstances.

This film is based on a story told to Mendes by his grandfather, Alfred, to whom the film is dedicated. In that respect, it is a very personal project.

But what makes ‘1917’ unique is the way it is filmed as a continuous shot or, at least, the illusion of one. We literally follow the two lance corporals, Blake (Dean-Charles Chapman) and Schofield (George MacKay), on their mission to cross no man’s land and reach the Devonshire battalion in order to warn the colonel that they are heading into a German trap and they should call off their attack. For Corporal Blake, this mission is deeply personal – his brother is a lieutenant with the Devons.

We follow Blake and Schofield as they weave their way through the British trenches and then cross the battlefield, avoiding bomb craters filled with water and rotting bodies. Eventually they reach the abandoned German trenches, where a nasty surprise awaits them.

There are heart-stopping incidents along the way, as well as a poignant encounter with a young French woman who is caring for an orphaned baby, a scene which reminds us humanity can exist in the hell that is the Western Front. Possibly the most moving moment of the entire film is the scene involving the hymn ‘Poor Wayfaring Stranger’. It brought tears to my eyes.

‘1917’ does not have leading men in the traditional sense. The two protagonists are little known* actors; their very anonymity makes the viewer’s identification with them much stronger. There are some ‘name’ actors in the film – an almost unrecognisable Colin Firth as the general who sends the boys on their mission, Andrew Scott (Moriarty from ‘Sherlock’) as a world-weary lieutenant who couldn’t give a damn, and the ubiquitous Benedict Cumberbatch in a brief but nuanced performance as the frazzled colonel in charge of the Devons.

‘1917’ is a moving story of the horrors of war. It has already won a Golden Globe for Best Drama and you can expect an Academy Award to follow for the film and its director.

*George MacKay plays a tortured Ned Kelly in 'The True History of Ned Kelly' (2019)  alongside Essie Davis and Russell Crowe.

Deborah O’Brien

26 January 2020

fbook icon 60A World Without Books: ‘Fahrenheit 451’


I’m an inveterate movie buff. Whenever I pass Sanity or JB Hi-Fi and spot a sign saying ‘3 for $20’, I can’t resist riffling through the rows of DVD cases in the hope of finding a treasure. Last Friday I came across a gem – François Truffaut’s film of Ray Bradbury’s ‘Fahrenheit 451’, wedged between a rather mundane rom-com and a very average thriller.

I was so shocked to find the classic film that I immediately clutched it to my heart, afraid some passerby might try to wrest it from me, like those rabid shoppers fighting over shoes at the Boxing Day sales. But nobody showed the slightest interest in my discovery. So I quickly chose another two, rushed up to the shop assistant and handed over twenty dollars.

I must have been fifteen or sixteen when I first read ‘Fahrenheit 451’ and I recall being mesmerised by the surreal world it posited, a place where books are illegal; where neighbours and work colleagues inform on those still harbouring the forbidden volumes; and teams of firemen are despatched to burn them.

It’s been my experience that the film of a book is rarely as good as the book itself, but this one is an exception. In the sure hands of director Truffaut the story transfers brilliantly from page to screen. For me, the most spine-chilling scenes feature the red fire truck with its crew in their black uniforms racing along the road to the accompaniment of a Hitchcockian musical soundtrack. Those images become an ominous refrain running through the film.

There are fine performances from quintessential Sixties actress, Julie Christie and wonderful Austrian actor, Oskar Werner, who made his name in Truffaut’s iconic ‘Jules et Jim’ a few years earlier. He plays fireman, Montag, while Christie has dual roles: as Montag’s Stepfordesque wife, Linda, whose happiness is predicated on tranquilisers and watching large screen TV; and as a young woman called Clarisse, who secretly reads books and encourages Montag to question the system.

Although the film was made in 1966, it hasn’t really dated. The locations are perfect – the firehouse is a monumental grey building that could have been designed by Albert Speer and there’s a Space Age suspended monorail speeding across a rural landscape. According to the Bonus Features the monorail scenes were filmed in France where a prototype had been built in 1959 and ran along a short track.

For those who aren’t familiar with Bradbury’s novel, the title refers to the temperature at which paper starts to burn. Why burn books? Because they introduce readers to fictional worlds and alternative ideas that can inspire them to question the lives they lead and the values of the society they live in. In a repressive society, that can only lead to dissent. And a totalitarian regime doesn’t tolerate dissent. Which is why the Nazis burned books in 1930s’ Germany.

If all this sounds rather bleak, let me assure you that Bradbury’s story isn’t without hope. There are those who flee the repression and establish a new society where books are both the focus and the raison d’être. I won’t spoil it for you by revealing exactly how this happens. But it’s something which will resonate with 21st century readers, who are witnessing the most dramatic changes in the production of books since Gutenberg invented the printing press.

We’ve all heard the doomsayers predicting the demise of the book. And although the days of print books may well be numbered, it doesn’t mean books as such are endangered. ‘Fahrenheit 451’ shows us that a book can take many forms, and ultimately it is the words and ideas that count, not the format in which they are presented.


Deborah O’Brien

June, 2013

fbook icon 60A Bonzer*Aussie Dog


Those of you who’ve read my story, Puppy Love, will know that we’ve been looking for a new dog for quite some time now. Recently we heard about a litter of kelpie puppies. The 'boys' were already spoken for, but not the little girl. Last week her wonderful owner presented her to us. We called the puppy Angel in honour of her beautiful mum, Halo. And in the hope that the name will become a self-fulfilling prophecy.

It’s been eleven and a half years since I’ve had a puppy. Plenty of time in which to forget about the sharp little teeth and boundless energy.

Here are some other things I should have remembered:

  • Don’t wear a long dressing gown when greeting your puppy in the morning, or she’ll jump for the ties and hang off the hem.
  • Empty your water feature before you bring your puppy home or she’ll think it’s her own personal paddle pool.
  • Put the garden brooms away. Otherwise she’ll remove the brush end and make it her favourite toy.
  • And don’t expect your seventeen-year-old tabby cat to fall in love with the puppy just because you have!

More pics soon.

*For non-Australian visitors to this website, 'bonzer' is an old-fashioned Aussie adjective meaning great or fantastic.

Kelpies are Australian working dogs, much loved for their sturdiness, energy and intelligence. 

Deborah O’Brien

June, 2013

fbook icon 60Review: Hope’s Road

Hope's Road, Margareta Osborn

It’s a cold, windy day in my part of south-eastern Australia. In the paddock opposite us the horses are wearing their winter blankets, and what’s left of the grass has turned crisp and dry. I should be outside, cutting down a stand of dead thistles, but there are more tempting things to do. Inside our cottage, the fire is blazing and I curl up on the sofa to finish the book I bought several weeks ago as a reward to myself for having met a big deadline.

It’s ironic that as a full-time writer, I have very little time left for reading. So when I do choose a book, it had better be good! And I'm delighted to tell you that Margareta Osborn’s latest novel, HOPE’S ROAD is a really good read. It hooked me from the very first scene where a six-year-old girl tries to clamber through a barbed wire fence into the neighbouring property and is startled by an old man pointing a gun at her and telling her in no uncertain terms to ‘get the hell off’ his farm. Then we meet the girl years later, all grown-up – Tammy McCauley, or 'Tim Tam' as her best friend calls her. This feisty young woman makes up one of the triumvirate of characters around whom the story is woven. The other two are an old curmudgeon by the name of Joe McCauley and an intriguing loner called Travis Hunter (whose surname matches the man’s job – he’s a dog trapper).

But the star of the book has to be Travis Hunter's young son, Billy – a good-hearted boy caught up in the detritus of a marriage break-up. The cast of supporting characters is as strong as the main protagonists. My favourite is Mrs Beatrice Parker, who just happens to be the town’s own Nosy Parker and speaks in rhyming aphorisms.

The writing is lucid, lyrical and sometimes gritty. Although HOPE'S ROAD could be characterised as a rural romance, it's so much more than that. Fans of the genre will love it, and those looking for serious issues simmering below the surface will find them too. 

The backdrop of HOPE’S ROAD is the Gippsland landscape, described so lovingly you can almost hear the cry of the currawongs and smell the fragrance of the eucalypt forests. The setting will resonate with those of us who live in the country, while city dwellers, dreaming of a tree change, will find themselves totally beguiled.

HOPE’S ROAD is a great read that’s hard to put down.


Deborah O’Brien

June 2013

fbook icon 60Puppy Love

It’s been eighteen months since my collie dog, Bindi, died of cancer. For a long time we couldn’t even think about getting another dog, not while we were grieving for our beautiful girl. Recently, however, we decided it was time to bring a new dog into our lives.

     So we began visiting local pounds and shelters, both in person and online, looking for a rescue dog. Although we love collies, we didn’t want another one. There would always be the temptation to compare the newcomer to Bindi and find her wanting. Besides, we didn’t come across any collies, not even a border collie. At the RSPCA I fell in love with an Alaskan Malamute. My husband (WGH*) wisely reminded me that we didn’t want an active dog, nor one quite so big.

Anyway, about six weeks ago, WGH was having his daily latte at the local café. He likes to sit outside - it’s a ritual he used to share with Bindi, who thought ‘latte’ was synonymous with ‘walk’. Hence, if we said the word, she would spin around in circles, anticipating a jaunt.

On this particular day, as WGH sipped his coffee and chatted with the other regulars, he spotted a Pomeranian running along the footpath in the direction of the café. The dog was about a block away. No owner in sight. When the Pom was almost level with the café, it jumped off the kerb and started to dash across the road. At the same time, an upmarket black SUV was approaching at rapid speed. To make things worse, the driver was chatting on her mobile phone. WGH rushed onto the road and raised his hand to stop the vehicle, while one of the café regulars scooped up the dog, only to discover she wasn't wearing a collar.

A visit to the vet revealed she wasn’t microchipped either. The vet, in turn, offered to keep the dog until the owner could be located. In the meantime, WGH came home, bearing pictures of the Pomeranian, taken on his mobile phone. ‘We’ll use them for the posters,’ he said. 

I wish I hadn’t seen those photos because I looked at that cute honey-coloured dog and instantly fell for her.

‘If the owner doesn’t claim her, do you think we could keep her?’ I asked WGH.

He didn’t say no.

Before long, I was busy coming up with a list of names for the Pomeranian (since she didn’t seem to have one of her own). After considerable deliberation I decided on ‘Pixelle’. Like an excited mother-to-be, I was already looking at baby merchandise – pink leads, fluffy blankets, cosy dog beds. By the third day I was sure the owner wasn’t going to turn up. Part of me railed against him for being so careless; another part prayed that he had gone away and would never return. On the fourth day I was emailing my friends, telling them about Pixelle, when WGH arrived home, a sombre expression on his face.

‘The owner turned up,’ he said.

My heart sank. I won’t repeat the swear word I used.

And so it was that Pixelle went back to her owner and we were still without a dog.

Then a very dear friend emailed me with the following words:

You know what will happen? Some odd circumstance will probably deliver the right dog to you.

It’ll be fate.

And that’s what happened. More next time.

*WGH – World’s Greatest Husband (it says so on his coffee mug)


fbook icon 60Attack of the Anachronisms


It’s become quite a fad (albeit a pedantic one) to hunt for anachronisms in historical dramas such as ‘Downton Abbey’. There are bloggers out there who scour Julian Fellowes' dialogue, phrase by phrase, checking for chronological and cultural correctness. My own impression is that he gets it right most of the time. In three seasons of 'Downton Abbey' I can only recall a few snatches of dialogue that didn't seem to match the historical setting - Matthew Crawley's  'steep learning curve' being the most notable. But we can forgive Julian Fellowes the occasional linguistic inconsistency. After all, he’s created a wonderful show to which we’re all addicted, secretly or otherwise.

To tell you the truth, this current fervour for hunting anachronisms is something that makes a historical novelist like me very nervous. As a consequence, I pore over my manuscripts, searching anxiously for clangers. I wake up at night in a cold sweat because I’ve had a dream about readers finding a ghastly mistake in one of my novels. I enlist friends who are History teachers to proofread my text. But in the end, the buck stops with me.

So, in the interest of full disclosure, here are some of my own anachronisms, which have almost made it into print. Fortunately we spotted them first. But one day . . .


When I needed a rousing patriotic song for a scene in the forthcoming JADE WIDOW, the first thing I thought of was Elgar’s ‘Land of Hope and Glory’. Suddenly I could hear it playing loudly in my head like the ‘Last Night at the Proms’. What a stirring piece of music, I thought to myself. Perfect for my book. Fortunately I checked the date of composition before I submitted the manuscript to my publisher. Wikipedia told me that Elgar wrote his ‘Pomp and Circumstance March’ in 1902, while my scene was set in 1885! Can you guess which song I chose instead? The answer is at the bottom of this article.


In an early version of MR CHEN I wrote a scene in which Angie, the modern-day heroine, discovers a photo of Amy, the mysterious girl from the past, in an 1870s newspaper. It was only later that I realised my mistake. Not just an ordinary mistake, but a major clanger. You see, nineteenth-century newspapers didn’t have photographs, only engravings. Although photography had existed for decades, the images couldn’t be reproduced on a printing press. The technology wasn’t invented until the 1880s. The Sydney Morning Herald published its first photograph (as opposed to an engraving of a photograph) in 1908. To read more, I recommend ‘Two Hundred Years of Sydney Newspapers: A Short History’ by Victor Isaacs and Rod Kirkpatrick, available online.


Here’s another anachronism involving newspapers, which almost made it into THE JADE WIDOW. I only picked it up at first proofs. I’d written a scene where the characters were reading the latest news on the front page of the paper. What’s wrong with that, you might ask. Well, the front and back pages were used for advertising. The news stories were inside! I really should have known better, considering that I spend hours reading nineteenth-century papers online at Trove, the National Library of Australia’s magnificent resource of digitised newspapers.


Another mistake from THE JADE WIDOW, spotted by my wonderful copy editor. It’s 1885, and Eliza is comparing one of the male characters to Count Vronsky from Tolstoy’s novel, ‘Anna Karenina’. Should be okay, shouldn’t it? After all, ‘Anna Karenina’ was published in 1877. But what I didn’t take into account was that the first English translation didn’t appear until 1886! And although Eliza speaks enough French to get by and understands a bit of Cantonese, she doesn't know any Russian! So I had to quickly rewrite that particular paragraph and find someone else for Eliza to use as a comparison. It turned out to be Jane Austen’s Mr Willoughby. 


Finally, here’s a linguistic anachronism for you. In an early version of THE JADE WIDOW, Joseph refers to Eliza as ‘a loose cannon’. Yes, of course there were cannons in 1885 – in fact, they’d been around for a couple of centuries – but nobody had used the expression figuratively. Not until a few years later, and that was in America when a politician (I think it was Teddy Roosevelt) referred to an opponent as a 'loose cannon'. Three of my lovely test readers, including my husband, rightly queried it. The answer was confirmed at Gary Martin’s outstanding website, ‘The Phrase Finder’  which deals with phrases, sayings and idioms in the most entertaining and informative way. Have a look. You’ll find it hard to leave.


The anthem I substituted for ‘Land of Hope and Glory’ was an equally patriotic one – ‘Rule Britannia’, written in the mid-18th century.


Deborah O’Brien

May, 2013



Home in the Highlands blogs