ABSTRACT
At the beginning of the film Glass (1989), a flower-seller looks up at a skyscraper, faced with sheets of mirror glass. The modern city is opaque, unyielding to scrutiny on the part of its street-level inhabitants, reflecting only other buildings. At the end of the film we find that the flower-seller has been the murderer whose activities have driven the narrative. He had been transformed into a devious killer because his former patch as flower-seller had been appropriated by the new building's developers, ‘developers’ of the kind which have come to occupy centre stage amongst the most consistent villains in Australian film over the last two decades.
