The Resurgence of a Forgotten Film: A Love Letter to Youth, Talent, and Cultural Shifts
There’s something profoundly moving about a film that resurfaces decades after its initial release, especially when it carries with it the weight of personal history and cultural significance. Going Down, a 1983 Australian film, is one such story—a cinematic time capsule that has found new life thanks to a chance discovery in a New York video store. But what makes this revival particularly fascinating is not just the film itself, but the web of human stories and cultural moments it encapsulates.
A Film Born from Real Life and Tragedy
Going Down is more than just a movie; it’s a snapshot of a bygone era, a raw portrayal of youth, and a tribute to lost talent. At its heart is Vera Plevnik, a rising star whose tragic death in 1982 left an indelible mark on those who knew her. James Reyne, her former partner and now a celebrated musician, recalls her as a “vivacious woman” whose presence lit up every room. Their relationship, though brief, was marked by the kind of intensity that only youth and shared dreams can bring.
What many people don’t realize is that Going Down was Plevnik’s final project, a film she almost completed before her untimely death. Reyne’s connection to the film is deeply personal—he contributed a song to the soundtrack as a tribute to her. But here’s where it gets interesting: the film’s director, Haydn Keenan, remembers the sequence of events differently. Whether Reyne reached out to Keenan or vice versa, the result is the same—a haunting opening scene featuring Reyne’s song What’s It Like over a tracking shot of post-party chaos. It’s a moment that feels both intimate and universal, a reminder of how art can immortalize the people we lose.
A Cultural Snapshot of 1980s Australia
If you take a step back and think about it, Going Down is more than just a personal story; it’s a cultural artifact. The film centers on four young women navigating a night of drugs, fights, and camaraderie in Sydney’s vibrant yet gritty nightlife scene. Reyne’s observation that “this is just how we live” resonates deeply. The share houses, the parties, the drug culture—it’s all there, unfiltered and unapologetic.
What this really suggests is that Going Down was ahead of its time. Female-led narratives were rare in Australian cinema then, and the film’s unflinching portrayal of young women’s lives was groundbreaking. Yet, it flopped in Melbourne and struggled to find distribution. Why? Perhaps it was too real, too raw for mainstream audiences. Or maybe, as Keenan suggests, the explosive energy of 1980s Australian culture was too niche for broader appeal.
The Second Life of a Forgotten Gem
Fast forward to 2025, and Going Down is getting a second chance. American filmmaker Elizabeth Purchell stumbled upon the film in a New York video store and saw its potential. Her decision to restore it in 4K and release it in U.S. cinemas is nothing short of remarkable. Personally, I think this revival is a testament to the enduring power of storytelling. The film’s energy, its authenticity, and its soundtrack—featuring bands like Pel Mel and The Birthday Party—have resonated with a new generation.
But what makes this particularly fascinating is the dual audience it’s attracting. There are the original viewers, now older, revisiting their youth and marveling at how “young and gorgeous” they once were. Then there’s the younger crowd, who are left wondering why they’ve never heard of this film before. This raises a deeper question: how many other cultural treasures are gathering dust, waiting to be rediscovered?
The Broader Implications: Filmmaking Then and Now
One thing that immediately stands out is the stark contrast between filmmaking in the 1980s and today. Keenan’s description of Going Down as a labor of love, made on a shoestring budget and fueled by favors, feels almost quaint in an era of blockbuster budgets and streaming dominance. “Trying to raise money for feature films is now a Herculean task,” he laments. And he’s not wrong. The indie spirit that defined Going Down is increasingly rare in an industry dominated by algorithms and box office projections.
From my perspective, this revival is a reminder of what we’ve lost—and what we stand to gain by revisiting the past. Films like Going Down weren’t just made; they were lived. They captured the essence of their time, flaws and all. In an age where cinema often feels sanitized and formulaic, there’s something refreshing about a film that dares to be real.
A Tribute to Lost Talent and Enduring Love
Finally, Going Down is a tribute to Vera Plevnik, a talent cut short but never forgotten. Reyne’s affection for her is palpable, and the film serves as a lasting legacy of her work. Keenan’s grief over her death is still raw, a reminder of the profound impact she had on those around her.
If you take a step back and think about it, this film is more than just a revival—it’s a love letter to youth, talent, and the cultural moments that shape us. It’s a reminder that even the most forgotten stories can find new life, and that sometimes, the past has more to teach us than we realize.
So, as Going Down returns to Australian cinemas, I’ll be there, not just as a critic, but as someone who appreciates the beauty of a story that refuses to be buried. Because in the end, isn’t that what great art does? It endures.
