Down Under Flix was created to show love, shine light, and where necessary throw shade on obscure, forgotten, neglected, or under-appreciated Australian films, but I find myself increasingly struggling with the question of what constitutes an obscure, forgotten, neglected, or under-appreciated local film. Obviously some films are clearly immune from this category: Crocodile Dundee, for instance, does not and will never need my help. However, Breaker Morant, on the surface a critically revered and widely liked Australian classic, has by its own director’s admission barely made a dime. What, then, of films like Bran Nue Dae and The Sapphires? Both films were liked by critics and audiences. Bran Nue Dae scored 6 Australian Film Institute Award nominations including Best Film and scored Best Supporting Actress for Deborah Mailman, while The Sapphires swept the board winning 11 gongs, including Best Film, Director, Actor, and Actress (Mailman again). Bran Nue Dae earned almost $7.7 million at the local box office and ranks 42nd on the list of most successful Australian releases, while The Sapphires earned over $14.5 million and ranks 19th on that list. Having said that, last year Star Wars: The Last Jedi earned $45 million at the Australian box office – over twice as much as Bran Nue Dae and The Sapphires combined – with Jumanji: Welcome to the Jungle and Beauty and the Beast on its tail with $37.5 and $36.3 million respectively. In other cold, hard words, while Bran Nue Dae might have been popular, five times more Australians went to see a Disney live action remake of an animated film they’d probably already seen.
Continue reading “Double Bill: Bran Nue Dae (2009) and The Sapphires (2012)”
Discounting the film Blackfellas, in which he plays a minor role as a racist policeman, I’m surprised it’s taken this long to cover any John Hargreaves films on Down Under Flix. A six time AFI Award nominee (including for Hoodwink) and triple winner, Hargreaves is one of the best leading men to emerge from the Australian New Wave, and I have particular regard for his work in Don’s Party, Long Weekend, and The Odd Angry Shot. Hargreaves was a natural performer: gifted and charismatic, but not unnecessarily flashy; handsome, but not movie star handsome, and slightly crumpled like a creased jacket. He was a quintessential Australian everyman ala Jack Thompson and Bryan Brown, though he’s less familiar to young filmgoers today, partly due to his untimely passing in 1996 at age 50. This article looks at one of Hargreaves’ best films… and one of his other films…
Continue reading “John Hargreaves double feature: Hoodwink (1981) and Sky Pirates (1986)”
Director: Gregor Jordan
Stars: Heath Ledger, Naomi Watts, Geoffrey Rush, Orlando Bloom, Joel Edgerton
Second viewing, via DVD
This week marks the 137th anniversary of Australian outlaw and beloved anti-hero Ned Kelly’s doomed last stand at Glenrowan, Victoria. In June 1880, Kelly and the other young men comprising the Kelly Gang—brother Dan Kelly and friends Joe Byrne and Steve Hart—fought police at Glenrowan Inn wearing their now-iconic DIY head and body armour. Byrne, Hart and the younger Kelly were killed during the siege; Kelly himself was wounded and arrested, and would be hung in Melbourne Gaol in November that year.
Continue reading “Ned Kelly (2003)”
Director: George Whaley
Stars: Leo McKern, Geoffrey Rush, Joan Sutherland, Noah Taylor, Ray Barrett, Barry Otto, Essie Davis, David Field
First viewing, via DVD
The characters of Dad, Dave, and the rest of the Rudd farming family date back over 100 years. Author Steele Rudd (aka Arthur Hoey Davis) began composing Dad and Dave’s adventures in the late 1800s, and the first 26 stories were collected into the book On Our Selection in 1899. Further adventures followed and the characters went on to appear in other mediums: there was a stage play in the 1910s; a silent film in 1920; a quartet of sound films directed by Ken G. Hall starting in 1932; and a radio series spanning from the late 1930s to early 1950s. While the characters haven’t figured in the cultural landscape too prominently in recent years, there’s no denying their place in popular culture: a large billboard for 1938’s Dad and Dave Goes to Town (which marked the film debut of Peter Finch) stands alongside similar commemorative billboards for Jedda, Picnic at Hanging Rock, Storm Boy, and Crocodile Dundee at Sydney’s Moore Park/Fox Studios entertainment precinct.
George Whaley’s 1995 film Dad and Dave: On Our Selection revived the characters for late twentieth century audiences, and was designed to celebrate that year’s centenary of Australian cinema, as declared in the film’s end credits. The film adapts a number of Rudd’s stories and chronicles the exploits of the Rudd family and farm. Dad (Leo McKern) runs for state parliament against the slippery JP Riley (Barry Otto); Mother (Joan Sutherland) tends to house and home; oldest son Dave (Geoffrey Rush) falls in love, as does sister Kate (Essie Davis); and wayward son Dan (David Field) proves a miscreant, to name just a few story threads.
Continue reading “Dad and Dave: On Our Selection (1995)”
Director: Russell Mulcahy
Stars: Geoffrey Rush, Judy Davis, Jesse Spencer
First viewing, via DVD
A quarter of a century ago, Russell Mulcahy’s music video for ‘Video Killed the Radio Star’ became the first ever screened on MTV. As a music video director, Mulcahy helped define the form and helmed many of the medium’s most iconic, bombastic clips, including Bonnie Tyler’s ‘Total Eclipse of the Heart’ and a good portion of the Duran Duran catalogue. As a filmmaker, he’s best known for genre fare (action, sci-fi, horror), from Ozploitation gem Razorback and cult classic Highlander to recent episodes of TV’s Teen Wolf.
Suffice to say, when I think of Russell Mulcahy, I think of smoky visuals, dramatic backlighting and shafts of light, killer swine hating on humans, sword-fighting immortals decapitating each other, Christopher Lambert as a Scotsman, Sean Connery as an Egyptian, and Queen. A modest drama about sibling swimmers pressured into competition by an abusive, alcoholic father doesn’t spring to mind, but Mulcahy defies pigeonholing with Swimming Upstream.
Continue reading “Swimming Upstream (2003)”