David Stratton was always ‘doing it for the audience’. In this, he had a huge impact on Australian film

Celebrated film critic David Stratton has died at the age of 85. He leaves an indelible mark on Australian film culture, and Australian film culture left an indelible mark on him.

Over a long career, he had an intimate relationship with cinema, finding it a place of connection and a kind of shelter. It was where he spent time with his grandmother and time away from the family grocery business that loomed large over his future.

Stratton’s migration to Australia in 1963 as a 10 pound pom became permanent as he took on the role of director of the Sydney Film Festival from 1966 to 1983.

In that role, he shaped a generation of young filmmakers who would come to define the Australian New Wave. He found a new sense of belonging.

His 1980 book, The Last New Wave, is explicitly a homage to

the men and women who work in the Australian film industry [who] make up as fine a group of people as anyone would want to know.

Becoming a critic

The festival director role led to his relationship with SBS, who hired Stratton as a part-time feature film consultant from 1980 – an arrangement which he translated into on screen introductions for what became Movie of the Week, as well as Cinema Classics in 1983.

Here, he met producer Margaret Pomeranz, who became his professional collaborator, co-presenter and loyal friend. Their on-air partnership, lasting 28 years across the SBS and the ABC program, At the Movies, made them icons of Australian film culture.

In writing my book on At the Movies, I heard numerous versions of the question, “are you a Margaret or a David?” The collection of their reviews on Letterboxd can be searched by the tags “Oh, David” and “Oh, Margaret”.

A cultural icon

The words “cultural icon” can be over-used, but in the case of Stratton, the emphasis was on substance over show. He never finished high school or studied at university, but wrote three books on Australian cinema, two movie guides, and a biography, I Peed on Fellini (2008).

He was passionate and protective of film, no more so than when he was battling censorship. In the case of Ken Park (2002), because of restrictions on the viewing of the film, few could argue with the decision on the facts of the case. However, Stratton, who had seen the film, declared “We’re being lied to”.

Stratton was a seasoned critic and performer, and knew how to manage his persona. He worked as a film reviewer for The Weekend Australian for 33 years, was a regular reviewer for Variety from 1984 to 2003, using the moniker “Strat”, while also making contributions to The Age and segments on radio station 2UE.

Following the end of At the Movies, he ventured into reviewing on the internet through “David Stratton Recommends” a collaboration with art house film exhibitors in Melbourne, Sydney and Perth, and he ran a history of world cinema course at the University of Sydney’s Centre for Continuing Education, which he concluded in 2023.

Underpinning all of this is a commitment to the audience. He noted in interview:

I think everybody who is writing about film or talking about film is doing it for the audience that is reading or listening.

In praise of cinema

When I interviewed Stratton in 2019, giving generously of his time, he established quickly that he would only tolerate so much academic jargon and pretentiousness.

When we did The Movie Show, and I think Margaret would back me up, we were never wanting to intellectualise any of this. We wanted to get across to a wide television audience our love of film, or our disappointment in certain things. We always liked to praise films more than to not praise them, and we didn’t have the time or the inclination to analyse them in too much detail.

A cinephile before the age of DVDs and streaming, Stratton retained a certain puritanical approach to film, guarding its preciousness:

When I was growing up, films were hard to see. I would go to see a film in the cinema and very often that film, if it was not a huge success and therefore would be revived, you might not see it again, ever, unless it came on television.

This led to his famously obsessive system of notetaking and cataloguing.

This informed a certain conservativism, most famously expressed in his dislike of badly used hand-held cameras, but manifested in other ways.

It always amazes me when I see people watching movies on their mobile phone on the train and then they say they’ve seen the film. They haven’t seen the film obviously. If somebody thinks they’ve seen Joker on a phone, well good luck to them but they haven’t.

Stratton increasingly saw television reviewing as a demand on his other pursuits, not to mention his habit of watching a film a day.

A final farewell

We have in a sense been saying an extended farewell since the end of At the Movies in 2014.

Attempting to sum up a career is always difficult, but it is a responsibility Stratton lived with constantly. This is captured in one comment, perhaps the closest we will come to his philosophy of reviewing:

the reviewer has a big responsibility I think, a very big responsibility. Because after all it’s only their opinion, they’re obviously being honest – well they should be honest – with their opinion, but it only is their opinion and you’re talking about possibly destroying something that the people who created it spent years of their lives working on. It’s a pretty big responsibility.

This article draws on the author’s book At the Movies, Film Reviewing, and Screenwriting: Selective Affinities and Cultural Mediation, published by Intellect Press.

This article is republished from The Conversation, a nonprofit, independent news organization bringing you facts and trustworthy analysis to help you make sense of our complex world. It was written by: Steven Maras, The University of Western Australia

Steven Maras is the author of At the Movies, Film Reviewing, and Screenwriting: Selective Affinities and Cultural Mediation, published by Intellect Press.