Director: Bruce Beresford
Stars: Lothaire Bluteau, Aden Young, August Schellenberg, Tantoo Cardinal, Sandrine Holt
In my mind, the past 40 years have yielded three masterful English language historical films about thwarted attempts by Jesuit missionaries to spread Christianity to new frontiers. Those three films are Roland Joffe’s 1986 film The Mission, set in South America in the mid-1700s; Bruce Beresford’s 1991 film Black Robe, set in Canada in the 1630s; and Martin Scorsese’s 2016 film Silence, set in Japan around the same time. These films have experienced differing receptions: Joffe’s film won the Palme d’Or at Cannes, was nominated for seven Oscars, and its Morricone score still pervades popular culture; Beresford’s film won a smattering of Canadian and Australian film awards, as well as the Golden Reel Award for highest grossing Canadian film that year, but didn’t exactly set the world alight (later Golden Reel recipients include Johnny Mnemonic and Air Bud, just for context); and shockingly, Scorsese’s film caused nary a murmur on its release, despite its status as a long-gestating passion project from a director widely considered the premier filmmaker of the era. While my focus in this review is squarely on Black Robe (given Down Under Flix’s Antipodean brief and the film’s status as a Canadian-Australian co-production from an Australian director), I am also fascinated by how these films complement and diverge from each other, and will touch on this later.
Continue reading “Black Robe (1991)”
Down Under Flix took a break over December and early January while I traveled overseas for Christmas. But while you can take the Australian film reviewer out of the country, you can’t take the Australian film reviewer out of the Australian film reviewer, particularly when they also took Australian films to review out of the country. If that makes sense. Either way, here are some short reviews from my Christmas season viewing, all interesting films worthy of full reviews at some point.
Continue reading “Down Under Flix’s Christmas 2017 viewing”
Director: Bruce Beresford
Stars: Susannah Fowle, Sheila Helpmann, Patricia Kennedy, Candy Raymond, Hilary Ryan, Barry Humphries, John Waters, Sigrid Thornton, Kerry Armstrong, Julia Blake
At the time of The Getting of Wisdom’s release, Bruce Beresford was best known for directing muscular, rowdy entertainments like The Adventures of Barry McKenzie, Barry McKenzie Holds His Own, and Don’s Party. The latter film, adapting to the screen a play by Australia’s premier playwright David Williamson, was a step towards respectability for Beresford after his near professional ostracization following the Barry McKenzie films, and he was awarded a 1977 Best Director AFI Award for his efforts. The Getting of Wisdom seems an even more decisive step towards respectability, courting association with the dominant commercial aesthetics of the Australian New Wave: indeed, with its period setting, girls boarding school location, and literary origins (based on Henry Handel Richardson’s 1910 novel), it’s immediately evocative in its surface details of Peter Weir’s Picnic at Hanging Rock, released two years earlier and likewise set in Victoria at the tail end of Queen Victoria’s reign. However, The Getting of Wisdom’s a lighter yet more full-bodied blend than Weir’s artful, enigmatic melodrama. And while its focus on a young woman protagonist and feminine milieu outwardly suggests a significant departure from his earlier work, in its focus on culture clash the film is consistent with not only Beresford’s prior films but also subsequent ones like Breaker Morant and The Club.
Continue reading “Bruce Beresford Bildungsroman Bonanza: The Getting of Wisdom (1977) and Mao’s Last Dancer (2009)”
Director: Bruce Beresford
Stars: Maynard Eziashi, Pierce Brosnan, Beatie Edney, Edward Woodward
First viewing, via DVD
My admiration and fondness for Bruce Beresford’s work is well-documented: see my previous reviews of such diverse fare as the excellent The Fringe Dwellers, the entertaining The Club, the red-headed larrikin stepchild Barry McKenzie Holds His Own, and the decidedly mixed bag of American films that is King David, Crimes of the Heart, and Last Dance. Beresford has done stronger work overseas than those three median efforts; indeed, based on the one-two-three punch of 1989’s Driving Miss Daisy, 1990’s Mister Johnson, and 1991’s Black Robe, Beresford should be heralded as one of the finest working directors of that period. As it stands, Driving Miss Daisy reaped all the glory (and the inevitable post-awards backlash) and Black Robe’s reputation has blossomed steadily over time, but Mister Johnson was and remains virtually unknown. Beresford himself notes that it was “the best reviewed film I ever made by far, and seen by no-one” (There’s a Fax from Bruce, p. 166).
Continue reading “Aussiewood: Mister Johnson (1990)”
With 1982’s Barbarosa, Fred Schepisi became the first of the Australian New Wave directors to make the pilgrimage overseas, kickstarting a trend of Australian directors selling their wares abroad. George Miller followed with his contribution to 1983’s Twilight Zone: The Movie, Gillian Armstrong with 1984’s Mrs Soffel, Peter Weir with 1985’s Witness, and so on. The trend continues to this day (seen most recently with David Michod’s Netflix film War Machine and the Spierig Brothers’ Jigsaw), with directors pursuing bigger budgets and diverse opportunities outside the confines of the Australian film industry. This article is the first in an ongoing series that will highlight some of the lesser-known or neglected ventures of Australian filmmakers working overseas. And given my established fascination with Bruce Beresford’s work—as discussed here and here and here—I’ll kick off by looking at three of his lesser known overseas productions: King David (1985), Crimes of the Heart (1986), and Last Dance (1996).
Continue reading “Aussiewood: King David (1985), Crimes of the Heart (1986), Last Dance (1996)”
Sport has long occupied a key place in Australian culture. As noted by Daryl Adair in his essay ‘Making sense of Australian sport history’, the earliest British migrants used sport to maintain links with their country of origin, while subsequent generations helped forge a national identity on the world stage via their sporting prowess. Adair also notes that Australia’s coasts and surf culture have facilitated an array of water-based sports, and in recent years the AFL, among others, has contributed to the reconciliation agenda as a prominent employer of Indigenous athletes. In light of this national pastime, this week Down Under Flix spotlights three sports-centric films from the late 1970s and early 80s.
Continue reading “This Sporting Life: Dawn! (1979), The Club (1980), and The Coolangatta Gold (1984)”
It’s that time of year when film critics and commentators, both legit and impostors like myself, assemble their end-of-year lists praising and burying the year just gone. Given Down Under Flix’s focus on Australian films, particularly older ones, attempting a global review of the year in cinema is well outside my jurisdiction. Instead, I’ll be listing my top five new Australian releases of 2016, followed by the top ten films covered on/for Down Under Flix over the past seven months.
Continue reading “Down Under Flix 2016 Review”