The Mad Cows Of Girraween

A short story for film noir

Starring Joan Crawford

The light flickered in the background as the neon sign invaded the large window of her otherwise dark and dingy room. She had resided in this rundown boarding house for a year now yet still It felt as if she were not really there at all. The room felt as if it belonged to of another world. It felt unfamiliar. Try as she might she could not settle herself to an easy acceptance of her new surroundings. In truth why should she? It was not her fault that she had ended up here. Not her fault she had been deserted by her husband of twenty years. Not her fault she was old.

The neon light glowed. ‘Sizzle with your Sausages’, it read. The accompanying a picture of a well heeled hostess in slinky red gown serving a herd of cows. With hot branding iron in one hand, and plate full of sausages sandwiched between two buns dripping in chilly sauce in the other, she waited as the cows queued in front of her diner.  These country folk certainly knew how to coin a phrase she thought. She had wanted so much to return to the place she had last called home. The place where he sat eating his usual breakfast, preparing himself for his usual day at the office and where he spent his usual night in front of the tele. It was the ‘Someone Else’, who now shared the usual stuff with him that had kept her away. As far away as was possible. Girraween was the farthest she could get at the time and, coming from the cafe belt of the inner west suburbs of Sydney, it certainly seemed like country to her. 

The boarding house was supposed to be a temporary dwelling while she looked for a house but it had become her cell of solitaire. A place to hide away from the world. A place to lick her wounds. A place to cry without being seen. A place to curl up and die.

Just as she was about to drink her hot chocolate and pull down the faded blind before tucking herself into bed she heard a commotion on the stairs. It was a bunch of tenants from down the hall returning after a night out at the club. All women in a similar situation as herself. They had banded together.

Bonded you might say. She wanted to cry into her hot chocolate. She wanted to scream but it was all too funny so she laughed instead. Fry

 “The Mad Cows Of Girraween,” she mumbled to herself.

The commotion down the hall would be her only entertainment that night. She put her ear to the door and listened.

“Are you crazy woman?” one of them shrieked, “He wasn’t looking at you. He was looking at me!” 

“He was looking at the tall guy in the corner. The one in the wig. He was gay! Get it?” 

“I don’t care what you say he’s up for grabs an I’m going back.” 

She could hear a scuffle. It sounded as if the woman had been pushed against the door.

“Oh no you don’t! C’mon luv you’ve had too much. Open the door and let’s have a cuppa in your room.”

“Well c’mon get out your keys.”

“I don’t need keys. I trust you’se all. I never lock it. Just push.”

The door was locked.

“Oops we’ll have to get the manager.” reasoned a third voice.

“Nah, It’s too late. C’mon we’ll go to my, …. Hey , … Wait a minute , … What about her down the end? The one who never talks to anyone. The new one. Let’s get her to speak to the manager.”

She could hear them coming closer and closer. Suddenly they were at the door. Her door.

She threw the hot chocolate down the sink in the corner and turned on the stove,  moved over to her wardrobe and, quickly changed into the only dress she had. A slinky red dress. She moved back to the stove with her dress swishing as she walked with new poise and confidence. She reached over to the drawer beneath the bench and took out a large fork which she patiently pressed down on the hot element, testing it’s temperature, with her finger. She licked her burnt finger, closed the blind and, waited behind the door in the dark and dingy room. Now it felt familiar.

By Renee Dallow

Grand Tour

Review For Potential Films

Directed by Miguel Gomes, the Portuguese film, Grand Tour, is really a philosophical, contemplative, slow and brooding exploration of shadow and light. There is a very minimal story and more questions than answers as the the main character, Edward Abbott, moves from Singapore to Bangkok, Saigon, Japan and China, trying to escape his fiancé of seven years. Why? We don’t know. Not only that, we don’t know who Edward is and we don’t know what he does for a living or why he waited seven years to leave his fiancé.  

When Edward reaches Raffles in Singapore and bumps into Reginald, a relative of his fiancé, it looks like some of our questions might be answered. Is he actually a spy? What is the telegram he receives and why is he being measured by a tailor for a new suit?  Before Reginald can ask him these same questions, Edward is on a train to Bangkok. The train crashes. Edward calmly sits by the railway track, smokes his pipe and sketches the surrounding jungle whilst waiting for another train. Is he a well known artist?  We don’t know. 

From here we are treated to traffic scenes in the streets of Bangkok. The locals on motorbikes wear masks. This is followed by a scene in the palace with the prince and dancers waltzing in a ballroom to music by Strauss before Edward hops on a fishing boat and ends up in Saigon.

Eventually he reaches Japan on an American warship and finds himself on the streets of Kyoto with men who wear baskets over their heads. They take him to the temple where he has a meditation session with a holy man. They talk of shadows. The holy man reveals the nature of the Japanese by explaining that they do not hide from shadows. They look for them. 

When Edward leaves Japan for China, the second half of the film concentrates on Molly, Edward’s fiancé. We follow Molly as she travels first to Singapore and then on to all the locations Edward has been. Her search for her escaped fiancé is a little desperate until a new world and a new way of viewing life is revealed to her through new sounds, traditions,  life on the streets and finally in the jungle. Why is she so determined to find him when it seems he is so determined not to be found?

Through the music of gamelan, Karaoke, Classical composers, birdsong, traffic noise and crickets, Grand Tour, is quite a cacophony of sounds. Along with shadow puppets and carousels and life on a fishing boats and villagers plucking chickens in local markets, it is also a visual pallet of real life in real time, filmed mostly in black and white. This film manages to take us somewhere but really ends up nowhere. On the whole, it is by no means a linear film and is more suited to the avante-garde art connoisseur than the average audience.

By Renee Dallow

Bourgeoise Reviews And Banter

Yo-Yos and Boomerangs

Excerpt from The Song Of Cicada Wings

From the street opposite, Yarran a young Aboriginal man, watched with fascination. His gentle face smiling all over. He carried two sacks full of fruit and vegetables which he had bought for the workers on the reservation where he lived. Every Saturday he came, wearing his possum skin cloak over his day clothes, white linen trousers and cotton shirt. He was all of eighteen or so and sturdy on his feet. Yarran was a proud young man of the Wiradjuri nation of New South Wales. He was a long way from home. Coming up alongside him was a tall white man with manicured sideburns and lanky, slicked back hair. His face was gaunt and serious. He was a man with a mission. A man whose thoughts travelled at a thousand miles an hour. He watched Yarran as he watched the yo-yo demonstration and he had an idea, which like all his ideas, would soon become a plan.

On the council for Aboriginal protection, Archibald Meston was also an astute business man. He was attempting something none had attempted before and, to achieve his end, was in the process of combining the tribes.The Turrbal and Durambal people from Brisbane Queensland,  Wurundjeri and Kulin people from Victoria, Kaurna people of South Australia and many more people of different tribes from all over the country were being collected by Archibald Meston for his Wild Australia show. In fact he collected indigenous people as one would collect stamps. They were enticed from reservations, from their own lands and even from their own bush huts deep inside dense forest areas near creeks, hills and valleys, where many still hunted and fished for a living. There were rumours that some had been taken by force. Black Birding usually applied to the taking of South Sea islanders during the 1860s. It happened in Australia too with the stealing of children.

Yarran was a stolen child. Taken by Anglican missionaries, he was moved to an orphanage for Aboriginal children on the outskirts of New South Wales, to be brought up a Christian. He never forgot where he came from or his mother who was probably still searching for him. His home had been Wagga Wagga, which for some strange reason the white people called, The Place Of Crows. They took him to a schoolhouse in Murwillambah on the banks of the Tweed River, the place of the Gudjinbarrah people, and told him this would be his place of learning. Behind the schoolhouse was the orphanage and for the next five years that was home. At fifteen he was moved to a reservation outside Brisbane and put to work as a fruit picker. He worked long hours but never seemed to have enough money to make his way back to Wagga Wagga. 

Mesmerised by the yoyo, Yarran barely noticed Meston, who was now just as interested in Harold’s demonstration, as he was. 

Maybe we could use one of these in our show. The yo-yo comes back just like a boomerang eh? Meston suggested.

Yes Sir.

Should we buy one?

Yes Sir. Yarran replied, still not taking his eyes from the yo-yo.

All right. Come on. Follow me. Meston agreed.

Meston crossed the street, followed by his young Aboriginal friend, and picked up one of the yo-yos from the display shelf. 

He gave one to Yarran too which immediately got Harold’s attention as he thought they might be about to steal from him.

So can you teach me how to do this Mr …?

Harold. Sir! Call me Harold. 

Harold took the yoyo from Meston, stood in the middle of he and Yarran, to demonstrate the wrist action needed to manoeuvre a yo-yo.

I’m impressed. My friend here is also impressed. We’ll take them all.

As he watched them walk away from his stall, Harold thought it odd, that the young Aboriginal  man wore a possum cloak in such warm weather and even more odd that this distinguished, yet gaunt looking white man with a long moustache and neatly combed sideburns, would buy thirty yo-yos.

Turning toward Millicent, who was still ironing curtains in her pretty apron, Harold looked at his fob watch motioning that it was time to close. There was a queue of women ready to buy both the iron and even the curtains. 

Well, Milly you can stop now. Time to pack up and head off home.

But look at all the customers we have.

They can come back next week.

You won’t believe how many yo-yos I just sold!

Between them they had sold twenty sad irons, fourteen aprons and even the drapes which had been only for display. His sister was such a good assistant that Harold wished he could take her interstate with him.This would not be possible for two reasons. Milly liked to stay close to home and Milly was soon to start school again. Tasked with taking care of Madoline, who would also be going to school, Milly would certainly have her hands full.

Harold would be off to New South Wales in the next two weeks and then to Victoria and South Australia with all his goods loaded onto a cart. This time he would be selling herbal remedies and medicines obtained from the apothecaries on commission. The small towns he would be visiting often had no access to these. He could count on very good profits.

Archibald Meston, with one arm about Yarran’s shoulder, used the other to practice the yo-yo all the way back to the reservation. Yarran, with both arms full of fruit and veg, could not do the same. He could not wait to get back and take out his new object of interest.  How could Meston compare it to a boomerang? He wondered.  The boomerang had no string. It came back of its own accord. Not like these two round pieces of wood with a piece of string between them. How strange the white man was.

The Song Of Cicada Wings: Excerpt from Chapter thirteen

By Renee Dallow

Genesian Theatre To Rozelle

By Renee Dallow

Bourgeoise Reviews And Banter

NOW TWICE BLESSED

The Genesians, blessed with over 70 years of superb productions at the old church/theatre in Kent Street Sydney, have now moved to Rozelle. Yet again they have been blessed with an old church which has opened the doors of it’s main hall to the company and which is now the new home of the new Genesian Theatre. So, the Genesian company is, in effect, twice blessed. Over the years it has been my privilege to be associated with the Genesians. First as a performer many years ago and now as a reviewer. I have loved this theatre and it’s productions for as long as I can remember. Here are just a few that I have reviewed including, Hay Fever, Jane Eyre, Home Chat, Bronte Sisters, Strangers On A Train and Steel Magnolias. That’s just this year. The Genesians specialise in English classics, featuring great writers from Noel Coward to Agatha Christie, Jane Austin and Emily Bronte. They also produce, from time to time, great American writers from F. Scott. Fitzgerald to Neil Simon. In fact one of my favourites this year was a production of Plaza Suite. Each play is directed and produced with a unique touch of Genesian magic, whether it be comedy, drama or tragedy. There are not many theatres left where one can find such diversity and such attention to the fine details of period, manner and taste. If the quality of these productions is anything to go by then the new home of the Genesians at St Josephs Rozelle, in the vicinity of White Bay, will be a runaway success.Their first production in the new theatre will be, ‘An Inspector Calls.’ How very fitting as I am sure we will all be inspecting the new premises with a great deal of curiosity and good will.

AN INSPECTOR CALLS is playing January 11 –February 22, 2025 (preview Friday, January 10: Venue: Genesian Theatre, St Joseph’s Church Hall, 2B Gordon Street, Rozelle. Website: http://www.genesiantheatre.com.au. For media enquiries, please contact publicity@genesiantheatre.com.au