Summary
Through gas-lamp fog and the coppery clang of Swanston Street trams, a nameless colonial photographer trains his hand-crank on the impossible: a civic labyrinth stitched by bluestone lanes, a vanished warehouse where a lone bullion chest waits like a metallic heart, and the ghost of a banker whose throat still carries the chill of a shearing-shear blade. Jack Gavin’s gaunt widower—equal parts town clerk, insomniac flâneur, reluctant sleuth—threads the grid of Melbourne’s boom-time gold rush, haunted by a ledger of receipts that refuse to balance and by the perfume of his dead wife’s gum-leaf-scented letters. Each frame quivers with the tremor of undeveloped celluloid secrets: a barmaid whose brooch bears the crest of the Bank of Australasia, a constable whose brass badge number matches the combination to an iron safe, a Yarra River punt man ferrying not passengers but whispered alibis. The city itself performs: arc-lights bleach the colonial facades bone-white while shadows spill like ink across the flagstones, and the film’s single close-up—an ant crawling across the face of a pocket watch—feels as monumental as any opera diva’s death scene. When the missing ingots finally surface, they do so inside a coffin at the Melbourne General Cemetery, their gleam dulled by cemetery loam, proving that in this sun-bleached Antipodes metropolis, even gold can die.
