"What I appreciated was the fact that the script delved into how Australians were - and still are - condescended to by the English"
About this Quote
There is a small, sharp pleasure in hearing a celebrated Australian actor name the old joke out loud: the empire might be gone, but the sneer lingers. Geoffrey Rush isn’t just praising a script for being “historical.” He’s praising it for spotting a power dynamic that survives in accents, etiquette, and who gets framed as “cultured” versus “colonial.” The line lands because it treats condescension as a system, not a single rude Brit in a single scene.
Rush’s phrasing does a lot of work. “Delved into” signals seriousness, not a wink or a quick bit of nationalistic chest-thumping. Then comes the hinge: “were - and still are.” That dash is the giveaway. The intent is to collapse past and present, to insist that imperial aftershocks aren’t museum pieces; they’re live wires in contemporary relationships, media portrayals, and cultural status games. It’s also an actor’s compliment: he values scripts that make conflict structural, giving performers something richer than caricature.
The subtext is a critique of cultural gatekeeping. Englishness, in the global imagination, often reads as default sophistication; Australianness gets filed as brash, provincial, comic. Rush points to how that hierarchy gets reproduced even when everyone is ostensibly “post-colonial” and friendly. Context matters here: Australian cinema and theatre have long negotiated between local identity and British approval, and Rush himself built a career that moved through both worlds. His admiration suggests a hunger for stories that don’t beg for validation, but interrogate why validation was ever required.
Rush’s phrasing does a lot of work. “Delved into” signals seriousness, not a wink or a quick bit of nationalistic chest-thumping. Then comes the hinge: “were - and still are.” That dash is the giveaway. The intent is to collapse past and present, to insist that imperial aftershocks aren’t museum pieces; they’re live wires in contemporary relationships, media portrayals, and cultural status games. It’s also an actor’s compliment: he values scripts that make conflict structural, giving performers something richer than caricature.
The subtext is a critique of cultural gatekeeping. Englishness, in the global imagination, often reads as default sophistication; Australianness gets filed as brash, provincial, comic. Rush points to how that hierarchy gets reproduced even when everyone is ostensibly “post-colonial” and friendly. Context matters here: Australian cinema and theatre have long negotiated between local identity and British approval, and Rush himself built a career that moved through both worlds. His admiration suggests a hunger for stories that don’t beg for validation, but interrogate why validation was ever required.
Quote Details
| Topic | Equality |
|---|---|
| Source | Help us find the source |
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