Showing posts with label Australian Cinema. Show all posts
Showing posts with label Australian Cinema. Show all posts

Monday, 24 August 2020

BLU-RAY: Walkabout (1971)

 

Walkabout

Directed by Nicolas Roeg

Starring Jenny Agutter, Luc Roeg (credited as Lucien John), David Gulpilil (credited as David Gumpilil)

Max L. Raab-Si Litvinoff/20th Century-Fox 1971

When a man takes his teenage daughter and younger son for a drive into the outback for a picnic, things take a shocking turn as he attempts to shoot them. Failing to do so, he torches the family car and turns the gun on himself.

The abandoned children are left to fend for themselves, as they try to make their way back home, or at least to familiar surroundings. They meet an aboriginal boy, who is on his traditional rite of passage (the “walkabout” of the title). Despite not being able to communicate verbally through their language barrier, the boy teaches them how to survive in their unfamiliar and harsh environment.

Walkabout is released on Blu-Ray in the UK by Second Sight on August 31st 2020, so what better opportunity to revisit a film which stuck in my mind from my formative years of film watching, and has revealed more of its facets with subsequent viewings. My memory deceives me that it was on television frequently in my childhood, although a bit of digging reveals that the BBC screened it three times in that period. In the times before we had a video recorder, we must have watched all those screenings in our house.

Naturally, there were elements of the film that failed to register with me at that age. In that sense, it has always felt like the film has grown with me. My younger self viewed it simply as a tale of two stranded children trying to make their way back home, but revisiting Walkabout through the passing years revealed it also to be a tragic tale of cultures clashing, as well as an allegory of modern civilisation moving away from a simpler, perhaps more natural means of existence. As Jenny Agutter says in a fascinating interview included on this Blu-Ray release:

“It tells [its] story both very simply, but with all of the different layers as well. It’s very hard to say exactly what it’s about. You know, people say “what’s the film about?” I think, to me it’s about loss of innocence.”

At this distance, the casting is fascinating. Agutter was yet to make her breakthrough film, that perennial evergreen The Railway Children, although Walkabout would actually end up being released after that particular film. The casting of Roeg’s own son Luc may well have raised a few eyebrows (and might explain the pseudonym on the credits), but it perhaps makes sense that the child in a challenging role should have absolute trust in the director from the off – how better to have this than when the young actor’s father is in charge?

Also making his film debut here was David Gulpilil (curiously credited as David Gumpilil). His performance as the boy on walkabout is so astonishing that it’s truly a puzzle that he didn’t appear in another film for five years, when an impressive triumvirate of Mad Dog Morgan, Storm Boy (an AACTA nominated performance) and The Last Wave all followed in quick succession.



The Blu-Ray:

Walkabout gets the lavish treatment it deserves in Second Sight’s superb release. It is unquestionably one of the most beautifully shot films of its time, and the 4K scan and restoration allows Nicolas Roeg’s cinematography to shine.

Special features include a new audio commentary with Luc Roeg and David Thompson, new interviews with producer Si Litvinoff, Luc Roeg and Jenny Agutter, a new interview with Danny Boyle discussing Nicolas Roeg’s work, a 2011 BFI Q&A with Nicolas Roeg, Jenny Agutter and Luc Roeg and an archive introduction by Nicolas Roeg. The main feature also has optional subtitles.

The limited edition box set (3,000 copies) comes with new slipcase artwork by Michael Boland, a copy of Donald G. Payne’s original novel (with unique cover art), a facsimile copy of the original 65 page First Draft Script with preface by Daniel Bird and an additional book with new essays by Sophie Monks Kaufman, Simon Abrams and Daniel Bird, along with stills and lobby card images.

In conclusion:

Walkabout, along with the same year’s Wake In Fright were very much films made from an outsider’s view of Australia (and it’s fascinating to contrast and compare the two films), but they are frequently cited (and with good reason) as kicking off the new wave in Australian cinema, as indigenous filmmakers began to tell their own stories, and with government backing.

The word “seminal” may be somewhat too casually applied to some films, but in the case of Walkabout it is perfectly apposite. It is a shame that a documentary on the career of David Gulpilil (included with an earlier US release) couldn't be included here, but that's a relatively minor quibble overall. The wealth of supplementary materials included with this edition, both on the disc and in the package make up what must be the near-definitive document of this quite unique film, and another fine Second Sight release.

Walkabout is available directly from Second Sight Films for pre-order, released on August 31st 2020. Click HERE to visit the product page (opens in new window).

Thursday, 7 November 2013

MOVIE: Dead End Drive-In (1986)


Dead End Drive-In

Australia 1986, 92m, New World/New South Wales Film Corp/Springvale

DVD: Arrow Films (UK) - Cert 15

In a near-futuristic Sydney, a young couple named Crabs and Carmen head for a night at the local drive-in theatre. As they enjoy the movie, two of the wheels are stolen from their vehicle, and as dawn rises they realise that they are stranded. It transpires that the drive-in has been converted into a concentration camp for the unemployed and undesirable. What's more, the people imprisoned there seem perfectly happy to stay, as does Carmen. Crabs, however, is determined to escape...

Back in the day, BBC2 used to screen seasons of films from Australia, and it was through these that I got to see all kinds of interesting items like Picnic At Hanging Rock, Sunday Too Far Away and Breaker Morant, interspersed with more eclectic flicks like The Cars That Ate Paris or Inn Of The Damned.

I was reminded of these film seasons whilst watching Dead End Drive-In, as although I don't recall it being screened on BBC2, it would have fitted in perfectly with the latter films mentioned above.

Ned Manning (Crabs) and Natalie McCurry (Carmen) make fine leads, as Carmen's increasing infatuation with the lifestyle and mentality inside the drive-in contrasts with Crabs' reinforced determination to get out of the place. There's good support from the range of assorted outcasts who have made a new life from their limited surroundings. Then there's a sterling turn from Peter Whitford, as drive-in manager Thompson. Seemingly friendly, you start to question his motivation, and are ultimately unsure whether he's really one of the bad guys or a government patsy.

Intentional or not (I suspect the former), there's social comment aplenty in Dead End Drive-In. The sidelining of the jobless and disenfranchised. The way they are kept docile by a diet of junk food, cigarettes, beer and drugs. The divisions within. The manner in which the inmates blame all of their problems on immigrants. The further radicalisation of the inmates as ethnic minoroties start to be bussed into the drive-in... Make of it all what you will. The fact that I am writing about it 27 years later, and much of it is still relevant says a great deal.



Favourite in-joke: Director Brian Trenchard-Smith manages to include his own Man From Hong Kong and Turkey Shoot amongst the films on show at the drive-in...

 
Original Australian Teaser Trailer:

Saturday, 13 July 2013

MOVIE: The Loved Ones (2009)

Image from Wikipedia
"Bring The Hammer, Daddy"...

An interesting twist on the usual horror formulas, as Brent (Xavier Samuel) turns down an invitation from the seemingly quiet and reserved Lola (Robyn McLeavy) to his high school's prom. Quite reasonably, Brent has already agreed to go with his girlfriend Holly (Victoria Thaine), so Lola really shouldn't take it personally. Except, she does...

Lola is actually somewhat unstable, and before he can get ready for the prom Brent finds himself abducted by Lola's equally unhinged father (John Brumpton - one of those actors you may not know by name, but will recognise from a host of Aussie film and TV appearances). He's arranged Lola a prom night of her very own, where she gets to be crowned queen, and where Brent appears to be guest of honour. Escape seems like a sensible course of action, but Lola and Daddy aren't giving up that easy.

Back in town, Holly is trying to suss out where Brent could have disappeared to, and she and Brent's mother enlist the help of the local policeman. Meanwhile, the cop's daughter Mia has gone to the prom with Brent's mate Jamie - he can't believe his luck, but as it transpires Mia has a few issues of her own. Their eventful night out is interwoven with the events at Lola's place in a way which would seem jarring on the surface but actually works rather well, especially as the film proceeds and we learn more about the peripheral characters. There's also an event from six months earlier in Brent's life which has a link, and the way in which the film's players have all been unwittingly affected by Lola's activities is very cleverly revealed.
Throw in a lobotomised woman at Lola's place called Bright Eyes, a hidden basement, some deliciously dark humour and some visuals that will make you wince, and The Loved Ones turns out to be one of the most genuinely original horror flicks of the last few years. Australia has turned out some refreshing horror entries over the years, and this continues that proud tradition nicely. Director Sean Byrne keeps things running briskly and doesn't let a single scene outstay its welcome, whilst Robin McLeavy is quite simply outstanding as the deadly Lola.

I'm not sure it's right to say I enjoyed this movie as that might suggest I have something wrong with me, but... what the hell, I did enjoy it. It's not one for the squeamish or easily offended, but if you like a good original horror flick with some twisted laughs and some very grisly visuals then The Loved Ones is wholeheartedly recommended. There's no middle ground - you'll either love it or hate it.



Australia 2009 - Screen Australia/Film Victoria/Omnilab/Ambience Entertainment
Certificate 18 (UK), MA15+ (Australia - originally R18+, overturned following an appeal)
84mins
Blu Ray/DVD from Optimum/StudioCanal (UK), Madman Entertainment (Australia)
Australian Trailer