Primitive Passionate

The first major blues and jazz singer on record and one of the most powerful of all time, Bessie Smith rightly earned the title of "The Empress of the Blues." Even on her first records in 1923, her passionate voice overcame the primitive recording quality of the day and still communicates easily to today's listeners (which is not true of any other singer from that early period). At a time when the blues were in and most vocalists (particularly vaudevillians) were being dubbed "blues singers," Bessie Smith simply had no competition. Back in 1912, Bessie Smith sang in the same show as Ma Rainey, who took her under her wing and coached her. Although Rainey would achieve a measure of fame throughout her career, she was soon surpassed by her protégée. In 1920, Smith had her own show in Atlantic City and, in 1923, she moved to New York.

Peter Weir's haunting and evocative mystery is set in the Australia of 1900, a mystical place where the British have attempted to impose their Christian culture with such tweedy refinements as a girls' boarding school. After gauzily-photographed, nicely underplayed scenes of the girls' budding sexuality being restrained in Victorian corsets, the uptight headmistress (Rachel Roberts) takes them on a Valentine's Day picnic into the countryside, and several of the girls, led by the lovely Miranda (Anne Lambert) decide to explore a nearby volcanic rock formation. It's a desolate, primitive, vaguely menacing place, where one can almost feel the presence of ancient pagan spirits. Something – and there is an unspoken but palpable emphasis on the inherent carnality of the place – draws four of the girls to explore the rock. Three never return. No one ever finds out why. The repercussions for the school are tragic, and of course Roberts reacts with near-crazed anger, but what really happened? Weir gives enough clues to suggest any number of explanations, both physical and supernatural.