It’s not just a house, it’s a home. Just like how this isn’t just any old movie, this is and likely will remain one of the most iconically Aussie movies you can possibly watch. At least that’s the conclusion that one of my best mates and I came to watching it on Tuesday afternoon, hungover from Monday’s Australia Day revels and trying to sufficiently recover for round two in the coming evening.
Released in 1997, The Castle tells the story of the Kerrigan family, led by patriarch Darryl (Michael Caton), and their fight against the corporate powers trying to seize and bulldoze their home in order to build a new runway at the nearby airport (as in literally right next door). Told through the narration of youngest son Dale (Steven Curry) this film both reflected and informed Australian culture. On the one hand, the Kerrigans and their neighbours are a collection of stereotypes of bogan culture in the late nineties (and now). They own five cars, make casually racist remarks without any malice, have generally atrocious hair, have no wish to move outside of their insular little community, gamble, spend more time reading the trading post than the newspaper and think that the only show funnier than Hey, Hey it’s Saturday is The Best of Hey, Hey it’s Saturday.
On the other hand, it’s also informed Australian culture. If an Aussie says you should “tell him he’s dreaming” or remarks upon the “serenity” of a particular location, they’re referencing The Castle. And we reference it a lot. Seriously. Y’know how much I talk about the Borderlands games? There’s a location in the Pre-Sequel called ‘So Much Serenity.’ That’s a reference to The Castle. Shit, while doing HSC English it made up the Australian required viewing on a syllabus that included Nobel Prize winning poets. Few other films have had such a lasting effect on Aussie culture. It makes you ask the question: why has this moderately funny and heartwarming film remained so important in the national consciousness while other moderately funny and heartwarming films fallen out of it?
I think it’s because of the sincerity of the script and cast. I think that while it isn’t exactly the prettiest reflection, we do like what we see. The Kerrigans are working class, unworldly, uneducated, the eldest son is in prison, and all of them are good people without question. The Kerrigans hold to principles of mateship and community that are often pushed as being quintessentially Australian. Darryl’s first thought upon finding out that the airport is seizing homes is to run to their neighbour Jack’s house, the oldest on the block. Their lawyer, Dennis Denuto (played wonderfully by Tiriel Mora) spends much of the film terrified and out of his depth. He knows he can’t win, knows how badly they’ll lose, even remarks that he’s “shitting himself” when they have a fighting chance, but he jumps into the ring anyway because his mate’s in trouble and asked him for help. Even the ending is something sincerely, positively Australian. They don’t Erin Brockovich or Miracle on 34th Street their way to victory, pouring through pages of legal notes themselves until they find a loophole or performing some gesture that warms the heart of the judge that’ll save their homes, like in so many American films. They win because Darryl meets a retired deus ex machina… I mean QC who was an expert in constitutional law named Lawrence Hammill (played also wonderfully by Charles Tingwell) and they bond over shared pride in their children. It falls upon the idea that Australia is an egalitarian society, that mateship crosses boundaries of class, wealth and education, and that when you see a mate down on his luck you do every fucking thing possible to help him. Darryl is a good bloke, and in Australia we help good blokes.
Now, is that necessarily true? Maybe. Maybe not. But it’s part of how we like to think about ourselves. And the film plays it with a perfectly straight face. The acting helps. Everyone puts out a great performance, Michael Caton in particular bringing a lot of emotion to his character. Special props go to Stephen Curry as our narrator, youngest son Dale. Dale is a character who absorbs every detail and is bluntly obvious about things, and Stephen brings a fantastic and positive honesty to the role.
The script is excellent. The editing and camera work are solid. Rob Sitch, the director and one of the writers, know what he’s doing with this kind of comedy. The soundtrack was a bit forgettable. If there’s any flaws with the film, it’s that the few female characters occupy the background a little too much, and that the comparisons between the Kerrigans’ legal battle and the issues of Aboriginal land rights, the Mabo Decision and Terra Nullius varied between hamfisted and a little cringeworthy. They’re not huge flaws, especially when compared to other Australian films, but they’re worth mentioning (and if you think I’m underplaying them right now, drop a comment, the discussion would be great).
Anyway, long story short, great film. Iconically Australian. Definitely worth a watch even if you’re not from the land down under. At the very least it’s worth mentioning as being Eric Bana’s film debut.