This Sporting Life: Dawn! (1979), The Club (1980), and The Coolangatta Gold (1984)

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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.

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Resistance (1992)

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Directed by: Hugh Keays-Byrne, Paul Elliott

Starring: Helen Jones, Lorna Lesley, Robyn Nevin, Hugh Keays-Byrne, Stephen Leeder, Harold Hopkins, Jack Thompson

First viewing, via DVD

Resistance is a film that’s been on my “to watch” list a long time. A remote-set dystopian action-thriller co-directed by character actor Hugh Keays-Byrne, best known as the antagonist in those other famous remote-set dystopian action-thrillers Mad Max and Mad Max: Fury Road, is an enticing proposition. However, the film was not afforded a conventional theatrical release in Australia, and is not widely available on physical or streaming media. I managed to secure a DVD copy via Amazon, but on receiving and finally playing the disc was disappointed to find the soundtrack was in French and there were no English subtitles. I decided to forge ahead and watch the film anyway, on the chance I mightn’t ever see it in another form, though I hope that Ozflix can one day add it to their collection with its original soundtrack. That wasn’t my only quandary though; I also had to decide whether to review a film which, based on the language barrier, clearly had me at a disadvantage. Again, I decided to forge ahead and do this because, as this review attests, even under imperfect viewing standards the film’s merits are evident.

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