Aussiewood Double Bill: Last Orders (2001) and Words and Pictures (2013)

Roxanne

Fred Schepisi was among the first Australian directors of the New Wave era to make the pilgrimage to Hollywood. Following his empathetic portraits of coming of age in a Catholic seminary in The Devil’s Playground and Aboriginal persecution in The Chant of Jimmie Blacksmith, Schepisi transitioned into American filmmaking in the early 1980s with such eclectic films as the Western Barbarosa, science-fiction film Iceman, and Plenty, an undeservedly neglected gem in Meryl Streep’s early filmography. In doing so, he helped pave the way for other New Wave Australian directors to work across the pond in subsequent years, including Bruce Beresford with Tender Mercies, George Miller with his segment in Twilight Zone: The Movie, Gillian Armstrong with Mrs Soffel, Peter Weir with Witness, and so on. While Schepisi has made two excellent films in Australia since then – reuniting with Streep on Lindy Chamberlain drama A Cry in the Dark and adapting Patrick White’s The Eye of the Storm – he’s worked predominantly overseas, and his CV is peppered with quality product – Roxanne, The Russia House, Six Degrees of Separation – along with some missteps or misguided attempts at commerce. The two films discussed below, 2001’s Last Orders and 2013’s Words and Pictures, represent both a palpable hit and a peculiar miss on their director’s part.

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Musical comedy triple bill: The Night We Called It a Day (2003), Thunderstruck (2004), BoyTown (2006)

hawke

Last week, Down Under Flix kicked off a month on comedies from the noughties and thereabouts, highlighting a triptych of Australian romantic comedies. This week’s featured trio are linked by a shared focus on music, milking comedy from real-world entertainment lore, rock ‘n’ roll hagiography, and satirical jabs at manufactured pop music.

Continue reading “Musical comedy triple bill: The Night We Called It a Day (2003), Thunderstruck (2004), BoyTown (2006)”