
The slowly disintegrating Goddard family are watching the news. They are painfully aware that their son, Phil (Nicholas Eadie) is in Vietnam as a conscript. The evening news shows the terrible and soon to become iconic photo of the South Vietnamese police chief administering summary justice and shooting dead a suspected Viet Cong on the streets of Saigon. The family is deeply shocked although their responses to this horror is reflected in their different political views and divergent views of the war. Summary by Janet Bell.
The war in Vietnam was played out on the nation’s television screens almost every night. The Goddard’s growing horror at the violence mirrors the state of mind of so many Australian and American families at that time.
The clever device of having Douglas Goddard (Barry Otto) as a senior bureaucrat means that we have close encounters with the policy decisions of Australia’s various conservative Prime Ministers during those years, from Robert Menzies who began Australia’s involvement, through Harold Holt, John Gorton and Billy McMahon.
This epic story of Australia’s involvement in the Vietnam War is told through the history of a middle class family, the Goddards, whose son Phillip (Nicholas Eadie) is conscripted to fight in the war and whose father, Douglas (Barry Otto), is one of the key Canberra bureaucrats responsible for the policy of Australia’s involvement in the war.
Phillip has a schoolgirl younger sister, Megan (Nicole Kidman) – already on the pill and opposed to the war in Indo China – and a housewife mother, Evelyn (Victoria Lang), who is just starting to stand up to her authoritarian and patronising husband. The family is driven apart by the war in Vietnam, the sexual revolution and the growing independence of women in Australian society. When Phillip becomes alienated from his family as a result of his experiences as a soldier in Vietnam, the family never loses the courage to keep love alive, using their new found insights to begin to know each other as they never have before.
Vietnam makes evocative use of archival footage from the era to establish the verisimilitude of the mid 1960s. It’s a backdrop of Beatlemania, flower power and a growing horror as the nightly news presents the carnage of the war in Vietnam. The directors even go so far as to inject Megan (Nicole Kidman) and her mother Evelyn (Veronica Lang) into archival news footage from the early 1970s as they join hands with hundreds of thousands of others who are opposed to the war in Vietnam.
The late 1960s in Australia was a time of great social and political upheaval. Since the end of the Second World War, Australia had had full employment. A whole generation of young people who had experienced the possibility of a university education, were now experimenting with sexual freedoms, new forms of music and political views that would bring them into sharp conflict with their parents’ generation. One of the issues that polarised Australian society was the Vietnam war and the use of conscription to call up young men whose birth date was drawn out of a barrel, like winning a lottery, except that for them it was to go to war.
Notes by Janet Bell
This clip, from a television miniseries, shows Douglas Goddard (Barry Otto), his wife Evelyn (Victoria Lang) and daughter Megan (Nicole Kidman) in the living room of their home watching a black-and-white television news broadcast of the war in Vietnam. The broadcast depicts violent scenes, including a South Vietnamese police officer summarily executing a man in the streets of Saigon. The middle-class Goddard family are shocked and their responses reflect their differing political views about the war. Douglas and Megan argue and when Evelyn enters the discussion, Douglas’s patronising attitude towards her further angers Megan. The scene concludes with Megan walking out of the house into the night with Pachelbel’s ‘Canon in D’ playing in the background.
Education notes provided by The Learning Federation and Education Services Australia
Douglas Goddard, his wife Evelyn and daughter Megan are in their living room watching a black-and-white television news broadcast of the war in Vietnam.
Newsreader And we warn viewers that some of these violent scenes may be disturbing.
The television shows scenes of violence on the streets of Saigon, including a South Vietnamese police officer summarily executing a man in the street.
Reporter (voice-over) Two weeks after the Tet offensive, peace has still not returned to the streets of Saigon, where shooting and violence has continued daily. Casualties have been high, and South Vietnamese police have performed at least one summary execution in an attempt to head off further disruption.
Douglas That’s disgraceful. Children watching.
He gets up to switch off the television.
Megan Yeah, that’s right. It’s fine that it happens, just disgraceful that people might see it!
Douglas I don’t condone random acts of violence.
Megan But you refuse to see what bastards are on your side!
Douglas It’s a war. Things get out of control. I don’t deny it. But that doesn’t affect the underlying moral and political issues.
Megan He’s the guy you’re supporting! You might as well be pulling the trigger yourself!
Douglas I’m not going to sit here and listen to an hysterical child who doesn’t know what she’s talking about.
He gets out of his chair and walks out of the room.
Megan Oh, go on. Run away. Kill a few more before bedtime.
Douglas marches back in, angrily.
Douglas Now, you listen to me, young lady! I’ve had quite enough. You’re entitled to your point of view, but I will not have you shouting your slogans at me in this house. Understood?
Evelyn I must say, Douglas, I do think Megan has a point. I do wonder about our wholehearted support for the people who do that.
Douglas At least the cameras are allowed on the streets of South Vietnam. We don’t even get a chance to see what happens in the north.
Evelyn There isn’t the level of corruption, for a start.
Douglas Where did you read that, darling, hmm? I would have thought that you’d acknowledge the fact that I’d have a little bit more inside information than you get from reading the newspapers.
Megan Oh, go on, put her down, that’s right. Get your big jackboot and grind her into that carpet.
Evelyn Megan, that’s enough!
Douglas Alright. Do I put you down?
Evelyn You can be very condescending towards me.
Megan The way you treat her makes me throw up!
Douglas Get to your room! Alright. When was I condescending?
Evelyn Douglas, there’s no point going through a list.
Douglas Oh, fine. ‘He hit me, Your Honour, but I can’t remember when.’
Evelyn You very rarely acknowledge that I have any intelligence at all. I’m just the kids’ mum, as far as you’re concerned.
Douglas Not this bloody nonsense, not again.
Megan It’s not nonsense! You’re cruel to her!
Douglas I told you to go to your room.
Evelyn Yes, Megan, go.
Douglas So everything is my fault? No examples, no reasons. It just is.
Evelyn Stop twisting everything!
Douglas Oh, calm down.
Evelyn Oh, that’s right. Bring it back to logic. You can’t cope with emotion. Let’s keep it on your terms.
Douglas It’s not just my terms. It’s the terms of the human race. It’s not my fault you’re out of touch with the human race.
As her parents continue to argue, Megan looks back at them before exiting the house.
Evelyn Don’t tell me I’m inhuman! I’m just asking you to be reasonable.
Douglas Nothing is achieved by flying off the handle. I would have thought you’d have learnt that by now.
The National Film and Sound Archive of Australia acknowledges Australia’s Aboriginal and Torres Strait Islander peoples as the Traditional Custodians of the land on which we work and live and gives respect to their Elders both past and present.