Australian
Screen

A minor entry in the series of genre movies produced by Antony I Ginnane in the 1970s and 80s, Snapshot doesn’t quite deliver on its promise of suspense but does contain some interesting elements and personnel on both sides of the camera. Barely known in Australia outside 'B’ movie buffs, Snapshot passed quickly through local cinemas in 1979 but still managed to notch up significant overseas sales. In 1978, it sold to more than 20 territories at MIFED, the International film and multimedia market.

Ironically, it was the only Ginnane production of the time not to feature any of the imported actors he recruited specifically to boost international potential. Though Chantal Contouri receives top billing as the flouncy, fur coat-wearing Madeleine, it’s 19-year-old Sigrid Thornton who commands most attention as naïve young Angela. Ginnane now acknowledges the lack of an international name was a mistake. 'The market experience clearly demonstrated some sort of TV guide or movie-recognisable star was needed to help propel these kinds of genre titles and also to provide part of the financial parachute if a film needs help.’

Already a five year veteran of TV shows and with small appearances in The Getting of Wisdom (1978) and The FJ Holden (1977) to her credit, Sigrid Thornton is appealing and convincing as the innocent whose good fortune quickly turns sour. Thornton has since gone on to become one of Australia’s favourite actresses, primarily in television roles. Other notable performers include Hugh Keays-Byrne and Vincent Gil, both of whom had prominent roles in the biker cult movie Stone (1974) and featured in the action classic Mad Max (1979). A one-time member of the Royal Shakespeare Company, Keays-Byrne adds a nice touch of eccentricity as photographer Linsey (see clip one) and Gil is suitably weird as Angela’s clinging ex-boyfriend (see clip two).

Snapshot presents interesting characters in an environment full of potential but doesn’t really get to grips with producing shocks or sustained suspense. It’s more effective as a character study of a vulnerable young woman thrust into an exciting and glamorous world with little to protect her from its seedy underside. Still, Snapshot holds some sort of distinction in thriller ranks for its use of a Mr Whippy ice-cream van as a deadly instrument. It’s unlikely any real company would allow their vehicle to be used in such a manner today.

Snapshot was the feature debut of director Simon Wincer who, like many of his contemporaries, learned his craft at Crawford Productions, Australia’s leading television production house. Shooting in widescreen with regular Ginnane cameraman Vincent Monton, Wincer makes good use of wintry Melbourne locations and shows signs of the visual flair that helped him graduate to big budget ‘outdoors and animals’ movies including Phar Lap (1983), The Lighthorsemen (1987) and the international hit Free Willy (1993). Though not as tightly scripted as it needed to be by suspense specialist Everett De Roche (with Chris De Roche), and with a few too many unanswered questions, Snapshot is a serviceable ‘Ozploitation’ entry.

Snapshot was released in Australian cinemas on 31 May 1979.