The first film of that year, 1975, was screened on a sultry afternoon in February in the old Radio Theatre, a 1940s relic in RMIT’s Bowen Lane. The film was Sydney Pollack's 1969 psychological drama They Shoot Horses, Don’t They? In that same month, on the other side of the world, Dog Day Afternoon, Nashville and Pollack’s Three Days of the Condor were being shot or were in post-production. As was Jaws . Film students yet to be born would in some future or extant cinema critique those productions. The theatre door, heavy as that of a bank safe, had closed with a heavy wheeze when I entered out of the blinding sun and, feeling my way, found a seat I could barely see. In the dim luminescence of the uncurtained screen, a film lecturer called Doug who, apparently relishing the prospect of sharing his cinematic favourites with a new intake of students, was enthusiastically introducing the film before signalling the projectionist - “Roll it, Sid...
The race to the solstice had been easily won; the weeks had flown and been flung aside, bits of history never to happen again. But then the hard part. The solstice was a chimera; the promise of daylight remaining a few minutes longer masked the prospect of a long cold wet miserable July and August. Inhabitants of other climes might jeer, and point to their winters of ten below, or their blinding snowstorms. But snow is romantic; a Melbourne winter is a bone-chilling wind-blown marathon, without the northern hemisphere’s Christmas - with its logfire-and-sleigh bells imagery - in the middle. (We get to endure that hokey European nonsense when it’s forty in the shade: Celsius.) A fellow runner - a Canadian - once admitted to me one bleak winter night that the chill wind that whipped frozen Antarctic air and dropped its cut-throat icicles onto Olympic Park, the Botanical Gardens and their surrounding pathways on which we were running, Lycra-tighted and gloved, was colder, more glacial...