The Big Picture - TV: Underbelly
If Underbelly is capable of breaking free from the legal quagmire that continues to dog its production, then it promises to be one of the most significant home-grown television releases of the year. The subject matter alone is compelling: the dramatisation of a real-life Melbourne gang-war that resulted in 33 deaths from 1995 to 2004. This tell-all tale will probably engross Australian audiences for months, but the real reasons for this fascination are likely to surprise...
What is unlikely to impress is the series’ delivery. Underbelly, based on the superbly researched book ‘Leadbelly’ by John Silvester and Andrew Rule, has made a perplexing transition to the small screen. A confusing pastiche of melodrama and documentary is unlikely to win it many fans. The Baz Luhrman inspired opening scenes (think Romeo + Juliet) clash strangely with the Caroline Craig narration that reminds me eerily of Lisa McCune’s work for the investigative crime series Forensic Investigators. The result is a less than successful melding of kitsch melodrama and serious documentary.
It’s the subject matter, though, that is likely to overcome the series’ production draw-backs. Evil is interesting. Watching the debauched and murderous activities of the ‘Carlton Crew’ and Carl William’s gang, we can’t help but wonder what brings a person to perpetrate these outrages? How, for example, can a character like Jason Moran callously beat a woman with a pool cue and not dissolve into a pool of self-loathing?
Underbelly offers few answers unless it is to imply that there is a special breed of human being who differs from the rest of us in their capacity for evil, and so needs to be dealt with in a way that ensures their control, if not their removal. Production company Screentime’s executive director, Des Monaghan emphasises this ‘them and us’ division as he reflects on the villains of this 13-part series. “It must be extraordinarily liberating to have no regard or concern for consequences but most of us, thank God, pause and think before we act.” Do we?
Alphonse Gangitano, the slick stand-over merchant who met his demise on the opening night does seem to show some form of remorse, leading to a visit to his local priest and a seemingly penitent conversation with his mistress. “You believe in redemption don't you?” she asks. “I keep wondering whether it’s possible to change myself, my life. How does it work?” “What? Redemption?” Alphonse responds. “Confess your sins. You ask for forgiveness and you clean the slate - that's it … provided you repent – that’s the catch.” “Sounds too good to be true,” she replies. “I hope not,” he says in an undertone.
The conversation indicates a good idea of the mechanism for entering the new life. But this is one leopard that can’t change his loafers, regardless of his promises. Moments before he is gunned down he is planning his next robbery. For the writers evil is clearly a something of a genetic disposition that needs to be selectively edited from the human genome. Certainly there are no real tears at the gang funeral that follows.
But Underbelly viewers aren’t required to understand the source of evil in order to accept that it has its consequences. Alphonse’s seeming change of heart is greeted by his fellow gang-members as still more evidence of a character out of control, and indeed the feel as an audience member is that he fails to understand that there will be an accounting for his actions. In fact, both in the drama and in real life we expect it. This desire is yet another key to the likely success of Underbelly. As human beings we require a level of justice that is often not achieved in the real world. So, as in the case of a drama like this one, we not only want to understand the motivations for evil, we want to see it soundly and comprehensively punished. Bad guys are not allowed to walk away at the end, nor will they in Underbelly.
Viewers will follow Underbelly from week to week because dramas like these help us to some degree to process the problem of evil. It may not provide the historical accuracy we might hope for, but Underbelly will deliver the resolution we crave. However its unnatural division of the world into ‘bad guys’ (the gangsters), ‘good guys’ (the cops), and victims or ‘normal people’ (the rest of us) is ultimately unhelpful. It leaves us witnessing and condemning evil without actually taking any responsibility for it – something the ultimate judge is unlikely to let slide.
Mark Hadley is the Culture editor at Your.sydneyanglicans.net and Christianity.net.au.
