DON’T TELL
Australia, 2017, 110 minutes, Colour.
Jack Thompson, Aden Young, Sarah West, Rachel Griffiths, Jacqueline Mc Kenzie, Susie Porter, Gyton Grantley, Robert Taylor, Martin Sacks, Robert Coleby, Kiara Freeman, Ashlee Lollback.
Directed by Tori Garrett.
This is a significant film, and important Australian film. It should be seen by all Australians.
The subject, which is most disturbing but which has become part of our lives, part of our consciousness, is institutional sexual abuse. The survivor of the abuse here is a young girl. So many of the stories, especially those from the Royal Commission, are of the abuse of boys, are fewer about girls. So many of the witnesses to the Royal Commission told stories of institutional church abuse. While Catholic stories have been told in the Oscar-winning Spotlight and the television miniseries Devil’s Playground (for thousand and 14), the church in the spotlight here is the Anglican church, the church in Queensland.
The specific setting is in the Queensland city of Toowoomba. The school is the Anglican School for girls, Toowoomba Prep. The time is 1990. There is a civil trial which is at the core of this film which took place in 2001.
The film has been sensitively directed by Tori Garrett. The central character of the film is Lyndal, abused when she was 11 in 1990, at the centre of the case in 2001. She is played extraordinarily persuasive solely by Sarah West, an angry young woman whose life has been severely damaged, whose emotional growth was stunted, educational opportunities lost, experiences of running away from home, alcohol and drug addiction, and the carrying of the burden of her secret.
The screenplay is based on the book by Lyndal’s solicitor, Stephen Roche, he played so well by Aden Young, the Toowoomba lawyer, with a family, a daughter the same age as Lyndal when she was abused. The film opens with his handling the case of a victim, not a survivor because she hangs herself during the proceedings, placing a burden on Roche, emotionally and, of concern to his wife, financially.
Lyndal is having therapy from a counsellor, Joy Connolly, played by Rachel Griffiths. They approach Stephen Roche – but, in the mentality of the time, especially for churches, the expectation is of a financial settlement with confidentiality clauses. Lyndal rejects this and, despite the wariness of the chief barrister, Bob Myers (Jack Thompson at his best), a civil hearing goes ahead in Toowoomba with a very strong-minded lawyer, Jean Dalton (Jacqueline Mc Kenzie at her best) defending the church’s interests, sharing with Stephen Roche the cross examination of a range of witnesses, school staff, Joy Connolly, the previous principal.
The film reminds audiences that in 1990, for most Australians, this kind of abuse was unthinkable. There is a lot of talk about the child and imagination, making up stories… Parents are reluctant to believe the stories or, if they do, very reluctant for them to be made public, especially in court.
Audiences may remember the 2003 resignation of Archbishop Peter Hollingworth as Governor General of Australia. Some of the reasons for his resignation include his handling of this case when he was Archbishop of Brisbane. He is seen opening a new wing at the school, the emphasis on Toowoomba Prep is a Christian school with Christian values. But there are also sequences, parallel with many meetings that have gone on over the decades with school boards, church councils of all denominations, discussing limits of financial payments, a wariness of going to court, discussing protecting the reputation of school and church and individuals, many defending the abuser as a person of good character and reliable work in the school.
One of the key factors in this case is that the abuser, Kevin Guy, committed suicide, leaving a suicide note naming number of girls. Eventually, the church admitted Kevin Guy’s guilt (and so his suicide note was deemed inadmissible).
At times audiences will find it difficult to identify with Lyndal, her anger, her sullen behaviour, trying to understand and appreciate it. With the flashbacks, which dramatises what Lyndal is remembering during the hearings, and the telling of her story, the audience will come to appreciate much better experience as a little girl (Kiara Freeman), damaged girl and the consequences. At some moments, the flashback memories are very disturbing. But, this is the kind of narrative drama that really brings home some of the realities of the abuse experience.
There have been many newspaper reports and articles, radio interviews, television coverage and interviews, items on social media, but the power of the theatrical and cinema drama can enable an audience to be drawn into the story, to empathise with the characters, to feel appreciate their experiences.
The end of the film has, statements about the characters we have seen and Lyndal’s subsequent history, there is also the terrible reminder that abusers threaten impressionable children that they are not to tell anyone, that this is their secret, or that if they do reveal it, something terrible will final caption happen before the credits says to the survivor: Don’t Listen.
1. Based on a true story, characters, situations, court hearings, with some fictional dramatisation?
2. A Queensland story, Toowoomba story, the city and the views of the city, its look, an authentic feel? Toowoomba Prep? Homes, the court, farms of the landscapes? The feel of Queensland? 1990, 2001?
3. A film for all Australians, for overseas audiences? The initial shock? The facts about institutional sexual abuse? Survivors and victims? The prologue, Rachel and the abuse, the wife with the gun, took a betrayal, the shots? The case and the courts? Interrupted – and Rachel hanging herself? The role of the abuses, the institutional authorities, the churches, attempts at covering up, the concern for reputation?
4. The film seen in the hindsight of the Royal Commission, the witnesses and stories told? The public learning more about abuse, shocked, but having to face reality, examination of conscience?
5. Audiences needing to see this film, the need for stories, dramatising and narrative, audiences over hours able to understand the characters, their stances and experiences, identify with them or not? The moral issues? The psychological issues? Legal issues of justice? Financial considerations?
6. Audiences accustomed to stories of the abuse of boys? The stories of girls, grooming, they’re being taken advantage of their age, their naivete, been told they were special, being exploited, physically and emotionally, the effect, they’re being discarded, with special, told not to tell something bad would happen?
7. The churches, the backgrounds, the Anglican church? The school, Christian school, took a Christian values of the Charter? The principal and his values, the staff? There is boards, the councils? The role of the Anglican bishops? The Archbishop of Brisbane, Peter Hollingworth, the scene with his blessing the new wing? As Gov general, the testimony, the phone calls and his inaction and uninterested responses? During the trial and the Anglican authorities having to run things by him? The ultimate scene of his resignation?
8. Lyndal, Sarah West’s performance, the opening, on the farm, going to sit on the hay, talking to God, praying for rain? The two actresses portraying Lyndal, a 21 angry? The flashbacks to the time of the abuse? The final sequence of the two girls setting the hay together? Lyndal school, having to board because of the farm, her experiences, the abuse, wanting to leave, her mother’s refusal? The aftermath, running away, interstate, arrested, drugs and alcohol? The effect on teenage years of the abuse on the young girl?
9. The portrait of the parents, the concerned mother, thinking that her daughter may have made up to stories, making a state school, contacting the authorities for getting no answer? Her talking to Steve Roach? Lyndal’s father, the farmer, staying outside, later saying that he was a moral coward, going into the court to support her?
10. Steve Roach, authoring the book? In himself, age, experience, the case with Rachel, interrupted, hanging herself? Myers and the issues of court costs? At home, his wife, the children, mortgage problems, the meals, is seen being angry with him about difficulties of school and copying assignments? Not wanting to talk to his father? Seemingly the plea, being being present? His son apologising and encouraging his father?
11. Lyndal, her therapy with Joy Connolly, trusting her? Approaching Steve? His being weary, settlements and agreements? His work with Bob Myers, finding him difficult? Sitting on the table, the trustees, their stances, church attitudes, protecting the reputation of the school, their attitude towards the abuser and his suicide? The offer, Lyndal and her bluntly telling them that she wanted no money? The further considerations and discussions, upping the financial offer? The issue of penalties for their dealing or not dealing with the situation? The final payment to the court had finished? The note about Queensland and not having these cases in civil courts?
12. Bob Myers, his style, his personality, literally and experience? Wary about Lyndal and her reliability? Realist? The bargaining around the table, going to court, his abilities in cross examination of all the witnesses, and pressing the jury? Steve and his associate and talking about moving beyond a judge and the establishment of the jury?
13. Jean Dalton, defending the church, the trustees? Her hard stances in court, seemingly insensitive, demanding? Her removing the suicide note and the school admitting the abuse? The suicide note with all the names? Her asking hard questions, meetings with the council – and have a shaking hands with Lyndal and wishing her well, especially after the cross-examination and probing her life and hopes to university compared with her family and sister?
14. Lyndal, her presence, appearance, clothes, memories? Kevin Guy, his manner, charming, calling her special, going to the common room at night, removing clothes, Lyndal’s verbal description of the experience with him, I think, touching him, wept? The aftermath and her anger? No sympathy for his suicide? Jean Dalton asking her about imagination, lies, her personal history?
15. The illness, reluctant, the teacher and her testimony, Steve going to see potential witnesses, the nurse finally coming to the Court? The information about reports to the principal? Steve going to see various survivors, the woman willing to testify, her father not wanting to make it public and sending her to London? Reluctant parents, admissions, some of the survivors coming to court?
16. Issues of councils and minutes, talk about Kevin Guy and his suicide, the rejections? The discovery of the special December meeting, Steve’s phone call and the reluctant member confirming the meeting? Getting the minutes? Jean Dalton and her reluctance but handing them over?
17. Brewster, his discussions with the council, as principal, supportive of Kevin Guy? The documents, the meetings? In court, is being cross-examined, admitting Kevin Guy’s
guilt his heart of hearts? Policy about supervision of showers, the witness of the nurse, the principal and his supervising the showers against policy?
18. The effect of the decision, the role of the jury, the financial decisions? Lyndal drinking, at the railway station, anger, criticising Steve? Come the last day, with her parents?
Relying on Steve – and the happiness with the decision, the response of the parents, the lawyers?
19. Back Steve, his family, problems, his wife, problems with the children, finances?
20. 2001, landmark case, the resignation of Archbishop Hollingworth is The General? And the subsequent Royal commission on Australians learning so much about institutional sexual abuse?
