By D. Purich, R. Allison
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Extra resources for The Emzyme Reference - Compr. Guide to Nomenclature, Reactions and Methods
Here, the image is complex and troubling. Returning to the bombing in “The Lighthorsemen,” bombs fall and men die, particularly Lighthorsemen, but their deaths are 37 The Competent Director 38 romantic deaths. The camera placement records the moment of death more closely to Bay’s interpretation of dying in war, and in this sense the camera placement supports a simplified visual intention. In this discussion of Wincer’s “The Lighthorsemen” I have tried to present a positive portrait of competent directors, whose approach is straightforward, singular, and consistent when presenting a narrative that is clear, engaging, and implicitly entertaining rather than thought provoking.
Rather than endanger his mates, he joins the ambulance corps. At the battle for Beersheba, he saves one of his three mates while another dies in battle. Danny falls in love with a nurse, meets an eccentric intelligence officer, and generally wrestles with his conscience while the Lighthorsemen save the day, win the battle, and go on to national glory in Australia. The film is an Australian production, but it differs considerably from the earlier “Gallipoli” (1982), a film that condemns the war losses sustained by Australian units under British command.
To take this discussion to the next level, we need to look at whether the director keeps the narrative simple or departs from this strategy. Is the simplified narrative a start point or is it the end point? I would have to say that competent directors tend to view the narrative as the start and end points. The narrative in “The Lighthorsemen” is a good example. The literal treatment of the story as a romantic revisitation of a historical event suggests and makes for The Director’s Idea: The Path to Great Directing a noneditorial experience of a chapter in Australia’s military history.