The Dressmaker
Discuss how deliberate structural choices have been employed within at least one studied text to challenge the
audience.
“There’s naught poetic about damn progress”.
The Dressmaker is an acutely powerful film which prods at our tendency, as humans, to maintain a constant way of
living and mocks our intense reproach towards any form of change and positions us to view this conservatism as
incompatible with our progressive nature. This abhorrence is demonstrated through the extreme case of Dungatar;
an isolated town which, despite the rapidly modernizing world in which it resides, continues to be strictly classist,
and fosters severely discriminatory social views. When change finally reaches this barren wasteland, in the form of
Tilly Dunnage, the town reacts harshly by ostracizing and dehumanizing her for her radical ideas and actions and,
ultimately, faces the consequences of its incompatibility - complete destruction. Through the employment of
characterisation, technical conventions, and symbolism the film proves the inevitability of change as something
societies must come to accept; fluid social standards are essential in this rapidly developing world.
The characters in ‘The Dressmaker’ each play an essential role in emphasizing the stark social differences between
Dungatar and the rest of the world. Dungatar’s society is compiled of many people who, superficially, seem to
possess a unique set of characteristics and personalities, yet, as the movie progresses, it becomes evident that each
person is fundamentally identical; they all share an intense belief in their antiquated social norms even if it has
negative implications on their own lives. Sergeant Farrat is a prime example of this. Throughout the film, we are
provided mere glimpses of his fiercely innate femininity as it is otherwise wholly suppressed. For example, when
Sergeant Farrat delivers a package to Milly Dunage, he demands “to inspect it” on the basis of “a public accusation”.
However, it immediately becomes apparent that his inspection was self-motivated as he rapidly devolves into a state
of delirium; trialling, rubbing and even sniffing the clothing inside the package. After his inspection, he informs Milly
that this is “how [he wishes] to be remembered” yet he’s also aware that public expression could cost him
“everything… [his] home here, [his] career – everything” so instead he “lives discretely”. While Farrat’s ability to
behave normally garnered him acceptance and respect in Dungatar, Barney McSwiney’s (Teddy’s brother) disease
prevents him. As a result, the town “tried to send barney away, just for being different” and readily ostracized his
family. The town’s society is incapable of accommodating difference, to allow Barney to live among them would
mean succumbing to change. Furthermore, Evan Pettyman, the town’s mayor, is characterised to represent male
superiority, another antic social norm. In the film, he abuses his power to maintain several concurrent illegitimate
relationships, a fact that is widely known yet scarcely acknowledged; it is Pettyman’s right, after all. “Fall down,
Marigold. Faint… You’re unstable, you’re drug dependent… I could have you committed anytime I want!”. Ultimately,
none of the characters in the movie are inherently immoral or obdurate, they are shackled to Dungatar, like
Marigold was to Pettyman, as it is all they have ever known; destruction of the town and yielding to change is their
only liberation.
The dynamic use of technical codes in The Dressmaker plays a significant role in effectively conveying the futility of
clinging to a flaw-riddled way of living. The movie begins with a bird’s eye view of a solitary bus travelling along a
road. This, and other wide-angle shots, prevalent throughout the film, show the true extent of Dungatar’s isolation
and, in doing so, proves the inevitability of change; it can reach places which are, otherwise, seemingly untouched by
the world. This scene is followed by a series of depressing flashbacks featuring a bleak colour profile and high angle
shots which show the sad and helpless life Tilly led, persecuted, and bullied. As it progresses, the movie periodically
switches between the past and present, this integration has the effect of intensifying the ugliness of the past. Along
with the dramatic soundtrack, this causes the audience to be desperately hopeful for an improved Dungatar. Upon
arriving, Tilly, the instigator of change, seems to assess Dungatar. Through her perspective, the buildings are shown
in a slanted manner which gives them a menacing demeanour. This insight shows that Dungatar still incites
psychological horror in her; it has not changed. The film’s use of natural lighting presents Dungatar and its citizens as
dreary and unattractive, in contrast with Tilly’s vibrant clothing. This is especially noticeable in the football scene
where Tilly appears in a modern, bright red costume while the other’s wear dull, outdated clothing which blends
with the rural landscape. As Tilly’s influence spreads over the town, more and more women can be seen dressed in
this modern fashion. Tilly has freed their feminine expression, raising them to be equal to their oppressive male
counterparts. Yet, Dungatar, as a society, had chosen to remain steadfast in their social beliefs, as evident at the
start, and so, ultimately, it is destroyed.
The Dressmaker’s abstract use of symbols grants the audience a deeper understanding of the problems which
shroud Dungatar and positions them to consider their own lives and societies as a potential harbour for these issues.
For example, Evan Pettyman’s death was caused by being slashed across his Achilles tendon by Marigold. This is
symbolic of Achille’s heel which, in Greek mythology, refers to the sole vulnerability in an otherwise invincible
character. In Pettyman’s case, this vulnerability was Marigold, a woman - his end ultimately came at the hands of the
very people he sought to oppress, thus proving that the women of Dungatar could fight back but had, up to that
point, lacked the motivation asDungatar’s isolation meant they were incapable of comprehending the possibly of a
fairer society. Another symbol used was Molly’s house. When Tilly first arrived, it was in complete disarray and
severely neglected, symbolic of Molly’s deranged mental state. Though it was never directly stated, Molly’s
‘difference’ was symbolized by the untamed shrubs that surrounded around her house, unlike the other barren
houses. This demonstrates the extent of people’s desire to be socially accepted and what happens to those that are
not. At the end of the movie, Dungatar meets its end by being razed to the ground by fire which is alluding to the
ancient Christian punishment of the “Lake of Fire”; a fire people are cast into in order to purge them of their sins, “to
eat up the dross and leave the pure gold” [19th century scholar, Charles Bigg]. In Christianity, this is the most severe
punishment, the last resort; it demonstrates how far beyond redemption the town is. Ultimately, the discovery of
these hidden messages hardens our understanding of Dunagatar’s social issues and why its destruction was
necessitated.
The Dressmaker is a powerful Australian film which exposes the social issues that, despite what we think, continue to
fester in many isolated towns, such as Dungatar, around the world. While most of us have come to accept change as
an inevitability, Dungatar’s isolation has compounded their hatred towards it, resulting in the maintenance of
incorrect social views and standards. Using characterisation, technical codes and symbolism, the film, ultimately,
demonstrates the destructive capabilities of change, if opposed.
References:
En.wikipedia.org. 2021. The Dressmaker (2015 film) - Wikipedia. [online] Available at:
<https://en.wikipedia.org/wiki/The_Dressmaker_(2015_film)> [Accessed 18 May 2021].
LitCharts. 2021. The Dressmaker Study Guide | Literature Guide | LitCharts. [online] Available at:
<https://www.litcharts.com/lit/the-dressmaker> [Accessed 18 May 2021].
Vcestudyguides.com. 2021. The Dressmaker by Rosalie Ham. [online] Available at:
<https://www.vcestudyguides.com/blog/the-dressmaker-by-rosalie-ham> [Accessed 18 May 2021].