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)”
This week’s review pairs two youth-centred Australian films of very different vintages and aesthetics. 1987’s The Year My Voice Broke is a traditionally-shot, rural-set period film (though originally shown on television) directed by John Duigan (Sirens) and produced by Mad Max creator George Miller. The film earned several Australian Film Institute Awards including Best Picture and Director, and a restoration of the film is scheduled to screen as part of next month’s Sydney Film Festival. In contrast, 2015’s Stanley’s Mouth is a non-traditionally shot, micro-budgeted, urban-set contemporary drama from independent director Mike Retter. The film screened at the Adelaide Film Festival in 2015 and is freely available on YouTube in several different formats.
Continue reading “Joint Review: The Year My Voice Broke (1987) and Stanley’s Mouth (2015)”
Director: Stephen Johnson
Stars: John Sebastian Pilakui, Nathan Daniels, Sean Mununggurr, Jack Thompson
First viewing, via DVD
There’s no better deal on Earth than the movies. For the cost of a cinema ticket, a monthly streaming subscription, a DVD or Blu rental, or whatever amount of data it takes to torrent a film, you can be entertained, educated, and elevated by everything from Doctor Strange to Pink Flamingos to Tokyo Story. With that embarrassment of riches, it’s little wonder Australian flicks fall through the cracks, and I’m as guilty of this as anyone. When Yolngu Boy was released in March 2001, it generated some really positive notices … which I roundly ignored along with the film, instead showering my not-so-hard-earned cash on significantly less well-received stuff like Dracula 2000 and Proof of Life. I might even have seen Miss Congeniality… on a discount day of course… But anyway, poor life decisions all around…
Continue reading “Yolngu Boy (2001)”
Director: Geoffrey Wright
Stars: Aden Young, Ben Mendelsohn, Tara Morice, Nadine Garner, Chantal Contouri
First viewing, via DVD
Metal Skin is director Geoffrey Wright’s follow-up to Romper Stomper, his controversial, barnstorming 1992 film about young neo-Nazis in Melbourne. That film announced both Wright and star Russell Crowe as ferocious, major new talents, scoring the former a Best Director nomination and the latter a Best Actor gong at that year’s AFI Awards. Wright remained on Melbourne’s mean streets for Metal Skin (and would revisit them again in 2006’s Macbeth) and the city proves once more a dark, seedy muse for the filmmaker.
The film opens with a distressed scream over pitch black, before cutting to a dazed, visibly injured woman wandering through a maze of shipping containers. It’s a fitting opening for a film that feels, at times, like a celluloid manifestation of Edvard Munch’s The Scream. From there, the film plots tragic courses for its four young protagonists: Roslyn (Nadine Garner), the woman glimpsed at film’s start; Dazey (Ben Mendelsohn), her disaffected and cheating boyfriend; Savina (Tara Morice), a troubled young woman who rebels against her devout mother (Chantal Contouri) by dabbling in the dark arts; and Joe (Aden Young), a rodent-faced twentysomething charged with looking after his ill father. When Joe starts a new job alongside Dazey and Savina, he falls for Savina, who is infatuated with Dazey, who uses and discards her, and the film follows the fallout of this damaged love triangle.
Continue reading “Metal Skin (1994)”