Barry McKenzie Holds His Own (1974)

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Director: Bruce Beresford

Stars: Barry Crocker, Barry Humphries, Donald Pleasance

First viewing, via DVD

In Les Patterson Saves the World, reviewed back in September on Down Under Flix, screenwriter and star Barry Humphries’ intoxicated elder statesman Les Patterson teams with covert secret agent Dame Edna Everage to stop an international terrorist plot to poison citizens worldwide through toxic toilet seats. In retrospect, it’s hard not to view 1974’s Barry McKenzie Holds His Own – also written by and co-starring Humphries, and pitting the titular larrikin Barry McKenzie against a Transylvanian plot to bolster national tourism by kidnapping and manipulating the Queen of England – as a dry run for the later film. Barry McKenzie Holds His Own is ultimately the more successful undertaking, though its commercial success did little good, at least at the time, for director Bruce Beresford – returning to the fold after 1972’s The Adventures of Barry McKenzie – who was treated as a pariah and had difficulty securing work afterwards.

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The Fringe Dwellers (1986)

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Director: Bruce Beresford

Stars: Kristina Nehm. Kylie Belling, Justine Saunders, Bob Maza

First viewing, via DVD

Bruce Beresford is undisputedly one of the great Australian filmmakers. Between 1972 and 1981, he helped usher in and worked at the coalface of the Australian film renaissance, helming a succession of classics and quasi-classics. The Adventures of Barry McKenzie, Barry McKenzie Holds His Own, Don’s Party, The Getting of Wisdom, Breaker Morant, The Club, and Puberty Blues all bear his name as director, and together constitute a remarkable straddling of genres and high/low art divides, from the broad ocker fare of the McKenzie films (which repulsed the cultural elite but still managed to net a Gough Whitlam cameo) to the earnest heritage drama of The Getting of Wisdom. He adapted Australia’s most topical playwright (David Williamson) twice, helped popularize our greatest dame (Edna Everage), and tackled politics (Don’s Party), adolescence (Puberty Blues), sports culture and commerce (The Club), and Australian-British historical relations and colonial identity (Breaker Morant). Beresford’s subsequent career has alternated between overseas films, including the Academy Award-winning Driving Miss Daisy, and a handful of Australian productions & co-productions including this week’s film The Fringe Dwellers, Black Robe, Paradise Road, and Mao’s Last Dancer.

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