Based on A. B. (Banjo) Paterson's classic poem, The Man from Snowy River is a coming-of-age story set in the Snowy River highlands of Northern Victoria and southern NSW in about 1880. Young stockman Jim Craig has lived his first eighteen years in the mountains.The death of his father forces him to leave the family property and go to the low lands to earn enough money to get it back in operation. He finds work on the property of the wealthy Mr Harrison, but when a valuable colt runs off to join a mob of brumbies in the highlands, he is forced to get it back and hopefully clear his name. Harrison offers a reward, which brings to the hunt dozens of the best horsemen in the district (including Clancy of the Overflow). Unimpressed by Jim's undersized mountain horse, Harrison and the other stockmen suggest that he stay behind. Jim uses his knowledge of the mountains and his horse's experience to track the colt down and bring it home. He doesn't ride so much for the reward, however, as to prove his worth to Harrison's headstrong daughter Jessica.
The narrative's sub-plot sees Jim and Jessica caught in the middle of a twenty-year-old feud between Harrison and his twin brother, Spur (who was also Jim's father's best friend and Jessica's now-dead mother's former true love).
'The underdog is a familiar figure in Australian popular culture. Yet Australian studies scholarship has tended to focus on the related, but somewhat broader, concept of egalitarianism. The figure of the underdog therefore remains a popular trope, rather than an object of serious study. This article seeks to critically engage with constructions of the underdog, arguing that this figure underpins some of the most significant narratives of Australian identity and is ripe for further analysis. I build on the work of American anthropologist James Wertsch, and what he has described as schematic narrative templates, to position the underdog narrative as an Australian iteration of his schema. In particular, I focus on narratives that feature the horse as significant. Touching on key cultural texts including “The Man from Snowy River” and the Silver Brumby series to illustrate this schema, I then draw more deeply on constructions of the racehorse Phar Lap to argue the template’s use in framing a nationally significant historical narrative. I contend that the underdog schematic narrative template and what I have termed the Australian “horse discourse” function to mutually reinforce the legitimacy of both, creating powerful sites for the expression of nationalism.' (Publication abstract)
'Four decades since The Man from Snowy River began filming in north-east Victoria, the town at the heart of it all is giving fans the chance to revisit the iconic movie.'