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Cult Review
Senior Film Conservator
Most war films announce their explosions upfront; It’s a Great Life – If sneaks the shrapnel under your ribcage and leaves it there to rust. Director Oswald Bertram—better known for bush-ranging potboilers—here channels a post-war malaise so tactile you can taste the aluminium tang of fear in every over-carbonated sip of Clarry’s off-brand lemonade. Shot on volatile nitrate stock now scarred with amber latticework, the surviving print (lovingly scanned at 4K by the National Film Archive) flickers like a dying soldier’s Morse code: watch, remember, beware.
Cinematographer Kit McAllister—no relation to the villain—renders the unnamed hamlet as a fever dream of ochre main roads and tin roofs that glare like raised bayonets. Note how the camera tilts up to the wheat silo in incremental degrees across the seasons, transforming it from utilitarian hulk to Calvary, until the final act’s catwalk confrontation feels as inevitable as Judgement Day. Compare this vertical obsession with the horizontal sprawl of The Hayseeds’ Melbourne Cup, where the landscape is a joke you’re invited to laugh along with; here, the joke is on you, and it’s whispered.
Clarry, essayed by the unjustly obscure Derek Ainsworth, carries the thousand-yard stare of someone who has swapped the drone of bomber engines for the cicadas’ monotone and can’t decide which is worse. His shoulders twitch in perfect synchrony with the film’s jump-cuts, as though the edit is an extension of his damaged nervous system. In the boarding-house parlour scene, watch how he fingers the antimacassar’s crocheted edge—every loop becomes a trigger-guard, every floral motif a parachute failing to open.
Marj—brought to fidgety life by Pauline Harcourt—suggests a young Greer Garson dipped in kerosene and set alight only halfway, so the flames lick but never quite consume. Her laugh, mentioned in the précis, detonates twice on the soundtrack: once diegetically in the hotel bar, once reverb-soaked over the final train platform, a ghost echo of everything that could have been. The device is subtle enough to pass unnoticed on first viewing, yet on second it hollows your chest like a spoon scraping marrow.
Stumpy, meanwhile, radiates the bluff bonhomie of a man who has purchased the world’s sympathy in advance. Played by real-life grazier Keith Strode—imported to the shoot straight from his 30,000-acre spread—he limps not for emphasis but because he actually lost half a foot to a threshing machine. That authenticity seeps into his smile: too wide, too quick, like a shutter that traps too much light and leaves the rest of the frame cursing darkness.
Dialogue arrives sparse as winter leaves; what’s unsaid accrues weight until the silence clangs louder than the brass band. Consider the midnight scene where Clarry and Marj share a cigarette under the verandah’s leaking gutter. She asks, “Ever think the sky looks closer here?” He replies, “Not close enough.” Three seconds of dead air follow, time enough for an entire unmade life to flash between them. Writers Bertram and Marjorie ‘Midge’ Callaghan—sisters, both nurses in New Guinea during the war—understand that trauma speaks in Morse, not paragraphs.
There is no orchestral score, only source noise: the factory’s bottle-capping clatter, the hotel’s warped 78 of ‘Waltzing Matilda,’ the cicadas that drone like idling aircraft. The absence of violins is its own kind of violence; into that vacuum the audience drags every private memory of loss. When the climactic silo rescue transpires, the sound drops to a single heartbeat-like thump—actually the automated bypass valve of the grain elevator, amplified and slowed 800%. You feel it in the pelvis, not the ears.
Unlike Parentage, where motherhood is a redemptive arc, or Kiss or Kill, where femme ferality upends the noir playbook, women in this microcosm remain tethered to sewing machines and boarding-house stoves. Yet the film indicts that captivity without fetishising it. Marj’s final exit in the Buick—her handbag clutched like a life raft—reads less as escape than as transference to another cage whose bars are merely chrome instead of cast-iron. The camera refuses to pan and follow her into freedom; instead it stays with Clarry on the platform, foregrounding the masculine wound while quietly mourning hers.
The Returned Servicemen’s League hall, festooned with moth-chewed Union Jacks, becomes a theatre of performative mateship. Inside, men who once plotted bomb runs over Stuttgart now argue over whose turn to buy the schooner, each syllable steeped in the terror of obsolescence. Bertram stages their circular bragging in a single ten-minute take, the camera rotating like a lazy Susan of despair. Their bodies—sunburnt, scarred, softening—testify to an empire that promised them dominion and delivered a bar tab.
The 2023 restoration unearthed thirty-two seconds previously censored: a brief shot of Clarry contemplating his service revolver in the boarding-house outhouse, the barrel glinting like a wedding ring. The Victorian censorship board had excised it for “tendency to depress returning troops.” Its reinstatement reframes the entire narrative; suddenly the silo rescue is not mere altruism but a man bargaining with the only deity he has left—gravity itself.
Where Smashing Through celebrates the kinetic rush of conquest, and Fighting Destiny mythologises the lone rebel, It’s a Great Life – If stands apart in its refusal to locate heroism within individual will. Fate here is a collective ledger; every debt is social, every repayment partial. Even Bought, with its melodramatic auctions of female virtue, grants its protagonist a moral ledger that ultimately balances. Bertram’s film leaves the columns stubbornly uneven, the surplus measured in sleepless nights.
Notice the chromatic triangulation: the dark orange of the silo’s rusted ladder, the sickly yellow of the boarding-house wallpaper, the sea-blue of Marj’s farewell dress. Each reappears at moments of ethical inflection. When Clarry grips Stumpy’s ankle on the catwalk, a rust flake drifts past the lens, momentarily tinting the frame ochre—blood that has not yet decided to spill.
Released in March 1949, the film sank faster than a depth-charged U-boat. Critics lauded its “unflinching veracity,” but audiences fresh from ration queues craved Technicolor optimism, not a mirror. It played three weeks in Melbourne, one in Sydney, then vanished into the bureaucratic oubliette of the Commonwealth Film Quota, resurfacing only in 1972 on a grainy VHS struck for tertiary film studies. The current 4K scan reveals textures that 1949 never saw: the lint on Clarry’s serge lapel, the cracked porcelain of Mrs. Figgis’s chamber pot, the way Pauline Harcourt’s left iris carries a fleck of amber like a preserved sunset.
Stream it now and you’ll catch DNA strands linking it to contemporary slow-cinema agonies—Lynne Ramsay’s Morvern Callar channelling the same sensory amnesia, Chloé Zhao’s Nomadland echoing the refusal of facile uplift. Yet Bertram got there first, armed with nothing but gumption and a government grant equal to the catering budget of a modern superhero trailer.
That dangling “if” in the title has fuelled seventy-five years of postgraduate theses. Is it a wink to Schrödinger’s civilian life, simultaneously great and not? A grammatical scar reminding us that peace treaties are merely pauses punctuated by fuller stops? Or simply the unfinished sentence every survivor mutters when the lights go out? The film declines to adjudicate; it simply hands you the conjunction and walks away whistling, tune off-key, into the wheat-sweet dark.
IMDb 6.6
1925
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