Patrick White wanted a great film industry for Australia and wanted his films to be part of it. From the time Voss made him a big figure in the writing world in the late 1950s, there were always plans in the air to film one or other of the big novels. To his immense chagrin it never happened. Not in his lifetime. His ambition has now been realised in his absence, not with the project always closest to his heart — Voss — but the novel of an old woman’s dying, which he conceived round his mother’s opulent death in London in the 1960s, attended by a retinue of expensive servants. I can’t imagine anything he would have enjoyed more in the last years of his life than watching Judy Davis, Geoffrey Rush and Charlotte Rampling tear their way through The Eye of the Storm. White thought his novels were made to be filmed. ''I have a wild dream,'' he told his cousin as he was writing The Tree of Man, ''in which I see it done as I can see it, without regard for expense or public.'' Those would be the ground rules he set for himself, rules that powered — and complicated — his film ambitions: a big budget to realise a very personal vision and ''the right person'' to pull it off. He has them all at last for The Eye of the Storm.
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