I did go to it for 11 years in a row until circumstances intervened and I could no longer make it (In 2017 I was not living in Melbourne and in 2018 I had just started a job a week before.) Not too sure about 2019 either as I am going over to the USA during October and will no doubt be broke on my return.
25th – 27th November 2005
Sarah Blasko, That 1 Guy, Sophie Koh, Dave Graney & Clare Moore, Mia Dyson, Tony Joe White, Tides of Welcome Choir
Blues Train – Shannon Bourne & Grant Cummerford / Dave Hogan’s Meltdown, Blackeyed Susans, The Hoodangers, Wagons, Clare Bowditch and the Feeding Set, Sally Ford & The Pachuco Playboys, The Saints, Melbourne Singers of Gospel, The Junes, Joe Dolce, Not Drowning Waving, Jeff Lang
24th – 26th November 2006
Dallas Frasca, Rebecca Barnard, Portentia, Mick Thomas & The Sure Thing, Unconscious Brothers, Anne McCue,
Chris Wilson, Yann Tiersen, Blaze, Jimi Hocking, Little Green Houses, Rose Bygrave, Charcoal Club, Royal Chord, Detonators, Shannon Bourne, Bay of Pigs, Don Walker, Barb Waters & Cyndi Boste, Collard Greens & Gravy, The Models, Neapolitan Croxton Showcase (Sarah Carroll, Dan Warner & Marcel Borrack), Betty Harris, Weddings Parties Anything, Ska Vendors, Sophie Brous Ensemble, Tides of Welcome Community Choir, Kerri Simpson, Andy Baylor, TnT, Suzannah Espie & The Last Word, The Exotics
23rd – 25th November 2007
Chris Wilson & Shane O’Mara, The Basics, AlMacandJack, Antagonize, Girl Vs Ghost, Lil’ Fi, Mia Dyson, Nick Charles, Gotye, Unconscious Brothers, Ross Hannaford, Sweethearts, The Junes, My Friend the Chocolate Cake, Rich Family Band, Lisa Miller, The Leisuremasters, The Rustys, Sambrose Automobile, The Periscopes, Sarah Carroll, Nigel Wearne, Laura Baxter, Sweet Dolores, Steve McEwen and the Yes Men, Sime Nugent, Hank’s Jalopy Demons, Paul Kelly, Bob Log III, Vardos, Mrs Wainright, Tides of Welcome Choir, Bless this House, Bec Willis, Dan Kelly, The Breadmakers
November 28th – 30th 2008
Harry Angus, Unconscious Brothers Spectacular with Rebecca Barnard, Josh Owen, Geoff Achison & Guy Pearce, Vulgargrad with Zulya, Kate Miller-Heidke, Sweet Dolores, The Wilson Pickers, Geoff Achison, Tides of Welcome Choir, Diamond Jim and the Tuff Tones, Fireside Bellows, Sarah Carroll and Andy Baylor, Kerri Simpson, ROOT!, Oh Laura, Tripod, Jeremy Jay, Kaya, Marshall and the Fro, The Bawdies, The Town Bikes, Elana Stone, The Bedroom Philosopher, Jackson Jackson
November 27th – 29th
Tinpan Orange, The Megahorns, Pigram Brothers, Gun Street Girls, Aluka, Alica Merrit, Steve Jones, Charles Jenkins & The Zhivagos, The Junes, Djan Djan, Mal Webb, Stephen McEwan & The Yes Men, The McClymonts, Dan Musil, Organ Boy, Black Market Rhythm Co., Even, Dan Sultan, Tides of Welcome, Grace Barbe, Bertie Blackman, Howl, Peter Combe, Tim Finn
November 26th – 28th
Frank Yamma, Katie Noonan & The Captains, Izzy, Mr Percival, Ashleigh Mannix, The Black Sorrows, Stephen McEwan, Chloe & Anika, Dave Steel & Tiffany Eckhardt, Beau (The Rustys) & Brittney McNeil, Catherine Sanzarro, Victoriana Gaye, Tides of Welcome Choir, Sweet Delores, Sweethearts, The Nymphs, Mary Gauthier, Kate Vigo & the Underground Orchestra, Ray Beadle Band, Quarry Mountain Dead Rats, Blue Shaddy, Gareth Liddiard, Dan Kelly’s Dream Band, The Mercurials, Catherine Britt, Sally Seltmann, The Rustys, The Meanies, Mick Thomas & The Sure Thing
November 25th – 27th 2011
Leah Flanagan, The Widowbirds, President Roots, Puta Madre Brothers, Pseudo Echo, The Herd, The Delta Riggs, Pete Denahy, The Sweethearts, Tides of Welcome choir with Dave Steel, Dead River Deeps, Wagons, The Cruel Sea, Brothers Grimm, Laine Lane, My Friend the Chocolate Cake, Woody Pitney, The Plains, BOOM! BAP! POW!, Kimbra, WHATEM 2 CD Launch with Sarah Carroll, Chris Wilson, Hausfrau, Sophia Katos, Lash78, Dadhouse, Frente, Gypsy & the Cat, Bondi Cigars
23rd – 25th November 2012
Loon Lake, The DC3, Tom Richardson Project, Howlin’ Steam Train, TZU, Baby Animals, Jackson Firebird, DJ Emma Peel, Kira Puru and the Bruise, Bee Gees Tribute Showcase, Cat Sanzaro, Izzy Losi, Lily & King, Sweethearts, The Tiny Giants, Clairy Browne and the Bangin’ Rackettes, King Cannons, You Am I, Ruby Boots, Tides of Welcome Choir with Tiffany Eckhart, Dave Steel, Chris Wilson and Sarah Carroll, Jordie Lane, Butterfly Boucher, Pinky Beecroft & the White Russians
22rd – 24th November 2013
The Pigs, Russell Morris, Transvaal Diamond Syndicate, Darren Percival, The Owls, The Tiny Giants, The Living End, The Brow Horn Orchestra, Tides of Welcome, Yirrmal and the Yonglu Boys, Hussy Hicks, Sweethearts, Ginger and Tonic, Chris Russell’s Chicken Walk, Andrew Swift and the Rattlesnake Choir, Genevieve Chadwick, Spiderbait, Stompy and the Heat, The Ray Mann Three, Twin Beasts, Papa Pilko and the Bin Rats, Microwave Jenny, Jeff Lang, Dallas Frasca, Underground Lovers, The Basics, Mason Rack Band, King of the North
28th – 30th November 2014
Davidson Brothers, Sweethearts, Hiatus Kaiyote, The Little Stevies, Georgia Rodgers, Skunkhour, Skyscraper Stan and the Commission Flats, The Delta Riggs, Dan Sultan, Áine Tyrrell, Karl S Williams, Charles Jenkins, Marlon Williams, DD Dumbo, WILSN, Murdena, Dyson Stringer Cloher, Emma Swift, The Bombay Royale, Jazzy Jazzper and the DARE OHHS, Jesse Valach & Blues Mountain, Stella Angelico, Tijuana Cartel, The Imprints, Tides of Welcome, Aluka, Hurray for the Riff Raff, The Waifs, Charm of Finches
27th – 29th November 2015
Tinpan Orange, Faux, Georgia Rodgers, Jack Filmore, Louis Baker, Harts, Morgan Bain, 19-Twenty, The Snowdroppers, The California Honeydrops, Sahara Beck, Bellarine VET Music (Righteous Desmond, Evony Dilema, Rachael Hart, Chitra Ridwan, Abby Grace & Erica Lyon, Mild Child), Sweethearts, Mustered Courage, Áine Tyrrell, Benny Walker, All Our Exes Live in Texas, The Tiny Giants, Damian Cowell’s Disco Machine, Tides of Welcome, Ainslie Wills
25th – 27th November 2016
with The Mojo Corner, Jordie Lane and the Sleepers, Liz Stringer, Chitra, Kylie Auldist, Bobby Alu and the Palms, Quarter Street, Alice Ivy, Bellarine VET Music (Hey Mammoth, Gypsy May (Liz Powell), Madeliene Cope & Zack Darkes, Erica Bjornenak, Jess Viola, Nina Denham), Sweethearts, Sarah Carroll and the Left Wing, JAWN, Leah Senior, Sweet Jean, Eilen Jewell, The Harpoonist & The Axe Murderer, Peter Garrett and the Alter Egos, Kira Puru, The Run, Geoff Achison & the Souldiggers with Chris Wilson, The Tiny Giants, Hollie Joyce, Tides of Welcome, Reuben Stone, Matt Anderson, Charm of Finches, Snuff Puppets, Ben Harper & the Innocent Criminals
Featuring: Cheng Pei-pei, Sammo Hung, Cynthia Rothrock, Richard Norton, Billy Blanks, Brian Trenchard-Smith, JuJu Chan, Jessica Henwick, Mike Leeder, Don “The Dragon” Wilson, Michael Jai-White and many more
Kung Fu demonstration before the premiere
I was looking forward to this documentary as I have been a fan of Hong Kong cinema and Kung Fu movies for a long time. I would not call myself an expert but I have had a site on them for almost 20 years (http://hkmovies.timchuma.com ) For a long time I did not know anyone else I could talk about them with, which is why I set up the site and the only other person I knew who had a movie review site said I should put them on my own site.
I had not heard of the director before and he is not on any of the discussion groups I am on even the one that actual film makers and writers read and post to. Some of the people interviewed in the documentary are though and that’s the main thing.
The documentary starts around the time of the riots in Hong Kong in the 1960s which is eerily prescient. The anger from society carried over into the cinema of the time and more violent cinema from Shaw Brothers studio was a result.
I would say about the first 25% of the film is about Shaw Brothers. It could have easily been a documentary on its own. (The author of a book on the studio wanted to go to the screening but could not make it.
As they say in the film the studio was focussed on making money and they were so successful in the 60s and 70s they were not used to being told no and were slow to change. Their subsequent rejection of both Bruce Lee and Jackie Chan was a result of this. They did try and change in the 80s towards the end of their run with some ground breaking works such as Demon of the Lute and the Boxers Omen but by then it was too late.
After Bruce Lee became famous there were was a flood of Brucesploitation movies and also a ton of Kung Fu films screened in Times Square “There were two genres: kung fu and porn!” Having a cheap form of entertainment easily accessible to young African American youth meant it became very popular amongst them and a lot of the films started screening in double bills with Blaxploitation titles. I wish they had have shown something from the Last Dragon as the theatre scene from that movie is on point.
The influence of the movies on hip hop and breakdancing is explored by one of the artists saying they studied the movies to learn the moves. The original Shaw Brothers movies were operas and comedies. There is a Journey to the West series of movies from the 60s were Pigsy sings about having “waist and shoulder pain”.
They did mention the films of Chang Cheh and had an appearance from one of the Five Venoms. It was very manly and the role of women was almost non-existent in his films which was quite different from Cheng Pei-pei’s work.
Cynthia Rothrock was a welcome addition to the film and I have seen both Yes Madam and Royal Warriors on the big screen. I had not heard of the one with the aliens. She and Richard Norton talked about how tough the stunt work in Hong Kong movies was.
The transition into the star-based rather than film based movies with Golden Harvest is covered with the rise of Jackie Chan. No Stephen Chow though which is strange since he is a huge star in Asia (there is a very short clip of Forbidden City Cop.)
The handover in 1997 and the Asian financial crisis of the late 90s is covered and led to a lot of talent going over to Hollywood to find work. What truly brought Kung Fu into the mainstream is Yuen Woo Ping’s work on the Matrix film as he said he had to train the stars to fight for real.
There is a worldwide reach of Kung Fu reflected in countries that had their own martial arts styles releasing movies that had a big impact such as Ong Bak and the Raid.
I had not heard of them, but an Australian production team from Adelaide apparently makes a bunch of martial arts movies on Youtube. I thought Dick Dale would have screened their work?
The final movie covered is the Kung Fu movie shot in Uganda that they hope will inspire people who grew up in the same circumstances to make their own movies.
While it covers a lot of ground in a short amount of time, I thought the documentary was very informative and I found out stuff I did not even know after more than 20 years of watching Hong Kong cinema. Well worth a watch when it comes out near you.
L-R: Paul Anthony Nelson from Plato’s Cave on RRR FM, Serge Ou, Veronica Fury, Chris Bamford, Ross Boyask
As much as I can remember from the Q&A:
Q – on the cultural influence on Kung Fu
A (Serge Ou) It was originally meant to be just on the influence of Kung Fu in the west but they decided to go further into it. They also explored the link between Kung Fu and hip hop/breakdancing.
Chris Bamford: The film was plotted on 250 post it notes with over 5000 edits in the finished movie.
Q: How much fun was it to edit.
A: It was a dream project to work on. There was over 900 hours spent in the edit suite with still enough material to make it a 4 part mini-series dependant on rights clearances.
The director wanted to show the ferocity of the early kung Fu movies and how watching something like the Raid 2 or the Night Comes for Us today feels like it those early films back in the 1970s did.
Both the director and producer used to watch kung Fu movies on TV with their parents. Genre films are a way of exploring the culture.
Ross Boyask said his gateway films were through Revenge of the Ninja, Commando and American Ninja. Sho Kashugi, Jackie Chan then Bruce Lee.
The ninja movies are related to Electric Boogaloo as the ninja craze is explored in that documentary.
Q: Who didn’t you get?
A: They wanted to go in the side window, not the front door. Did not want the obvious choices for interviews or people who have been heard from before. There were 52 interviewees in the film.
Q to Ross: How would you go about making Kung Fu movies in Australia?
A: Just do it. Watch lots of movies and appreciate the differences. Most actors have some sort of martial arts training these days at least for fitness.
Q: Have you seen Once Upon a Time in Hollywood yet and what did you think about the treatment of Bruce Lee in it?
A: We have not. We hoped to honour Bruce’s legacy with the documentary.
Q: The person hates documentaries but liked this one. “Docutainment”
Q: Will Veronica make a movie?
A: The next project Veronica Fury will be working on will be “Cat Fight” about women fighting in films.
Q: How did you find out about all the cultural influences in the genre?
A: Serge was well versed in the world of kung fu movies. The stories may be simple but they have a universal message that carries across cultures.
NB: This was originally written as a pitch
for a comedy site and abandoned.
I recently had the chance to see the
recording of the FAQ show for Ozflix with
Bruce Spence. We could only ask one question so mine was 300 words long.
I ended up having to cut it so I asked if the people making the movie
knew that if it was something that could happen in the near future and
not just a movie. He used the word prescient in his answer and said that
George Miller was “a bit of genius”. The first movies were about the
fuel crisis of the 1970s. Fury Road was about water.
So this happened
and then this
Despite there being many Australians
involved in the Hollywood film industry, the country does not have many
iconic film characters apart from Skippy, Crocodile Dundee and Mad Max
that are world famous. Wolverine does not count unfortunately.
The original Mad Max film was based
on Dr George Miller’s experience from dealing with a parade of carnage
through his emergency room in a time when cars were much more powerful
than today and more poorly regulated and more importantly, when drink
driving laws were lax.
In the city where the original film
was made there were vast suburbs stretching out in all directions with
lots of well made, straight, flat roads that helped the production. It
also led to many imitators both in Australia and overseas but Mad Max is
still the most iconic.
When the film was made in the late
1970s the gas crisis was a recent memory so the plot about the world
running out of fuel for cars seemed like a real possibility. There are
also a lot of other things that contributed to the movie being what it
is that will become apparent as we go on.
Despite what some fans are saying
about the new movie, it is an Australian production as a crew of 800
people went over from Australia to South Africa and Nambia to shoot the
film and many of the extras were Australian actors.
What I want to talk about in this
article is how the original film could not have been made in any other
country than Australia (an alternate reality of Mad Max being made in
Hollywood could be dealt with in another article.)
1. The political environment
Australia does not have the law that
its Prime Minister can only have two terms so at the start of the 1970s
after two decades of the one political party being in power, people were
ready for a change https://www.youtube.com/watch?v=9jykIqQxEOw
Gough Whitlam tried to institute
real change, but that went about as well as could be expected, he is
famous for being the only Prime Minister to be fired by the Governor
While he was in the Whitlam
government did pass a lot of reforms that led to a lot more creative
things going on including kicking into gear the local film industry due
to free university degrees and a lot more people going into creative
industries as a result.
The Australian Film Commission was
created on July 7, 1975 and began making substantial grants to feature
film, documentary, television and short film projects.182
It significantly extended on the support for the Australian film
industry that began with the Gorton Government. This support contributed
to the renaissance of Australian cinema that took place in the 1970s and
1980s, reviving an industry that had stagnated for decades. This support
allowed the expression of a new confident cultural identity through
film. Iconic and critically acclaimed films such as Picnic at
Hanging Rock, Gallipoli and The Last Wave
were produced with funding from the new Australian Film Commission.
2. The Australian film industry in the 70s
At the start of the decade the
Australian film industry had “had a bit of a lie down” for about 20
years and even some of the more famous Australian films such as
They’re a Weird Mob
Wake in Fright
were not even directed by
Australians as while there were still people working in TV and film it
was thought no one would see Australian movies if they made them.
The subject is covered in depth in
the documentary “Not Quite Hollywood” about the “boom” time of
Australian cinema from the introduction of the R-rating (NC-17) and the
10BA scheme through to the slump in the 1980s due to over-investment in
When first introduced in June 1981,
10BA allowed investors to claim a 150 per cent tax concession and to pay
tax on only half of any income earned from the investment. Government
concern about the cost of 10BA over the years meant that concessions
were progressively reduced to 100 per cent. Division 10BA was
closed to new applicants in July 2007 with the introduction of the new
Producer Offset. The concessional status for investment in productions
holding a valid 10BA certificate remained available until 30 June 2009.
3. Actors available
While Mad Max was famously one of
Mel Gibson’s first movies that he only got the role for after turning up
for casting with a black eye after getting into a fight, there were also
many other cast members who had been in many other films in the previous
decade that directly contributed to making the film what it was.
No, I was not named after the movie
“Tim” it was the BOOK
Several of the actors had already
been in movies together, namely the movie Stone which is as much the
spiritual successor to Mad Max as any other movie
According to Stone’s producer Sandy
Harbutt Roger Ward went over to the pub that the Hells Angels who were
playing the extras were drinking at and yelled out “All Hells Angels are
poofters!”. Some of the fights in that movie were pretty real.
There were a lot of young directors
at the time due to the film industry having a revival in the 1970s
people like Brian Trenchard-Smith, Peter Weir, Phillip Noyce, Gillian
Armstrong, Fred Schepisi amongst others who started off small and then
went off to work in Hollywood or overseas due to the Australian film
industry not being big enough to sustain them all.
During the 1970s , following the
confluence of numerous different factors, t ere was an extraordinary
revival of Australian film. The graduation of the first group of
students from the newly-created Australian Film, Television and Radio
School(AFTRS), was one factor; students like Gillian Armstrong and
Philip Noyce left their studies and began to work in the industry, and
settled alongside filmmakers like Fred Schepisi, Bruce Beresford and
Peter Weir, who had entered the industry in other ways. The other
factors ushering in the revival are also significant: in 1970, Philip
Adams and Barry Jones (working with the blessing of then Australian
Prime Minister Gorton) travelled around the world researching
Government-funded film industries, with the brief to prepare a detailed
report recommending ways in which an Australian Film Industry might be
literally “established”. After much wrangling and two changes of Prime
Minister, the new Australian film industry was brought into being.
Even though they were both USA car
brands, Holden vs. Ford rivalry was the source of many playground fights
growing up, sadly there are not going to be any car manufacturers left
in Australia after 2016 when the last of them shuts down as the current
government has decided to pull the plug.
The peak of car manufacturing in
Australia was in the 1970s where a car manufacturer’s race the Bathurst
1000 was held once per year by cars actually in production. If you go to
see the museum at the track you can see all they did was weld roll bars
into a real production car that still had its back seats installed and
souped-up the engine http://www.motoring.com.au/news/2012/sports/bathurst-1000—the-superstar-70s-32315
While not as money-rich as the
Formula One or having a big a following as NASCAR, the V8 touring cars
still do a series of races around Australia and the Formula 1 race in
Melbourne is the only one where they actually have another class of cars
racing on the track before the big race or nobody would come to it
Australian cars in the 1970s were
big an boxy, if you got into the crash the car would be fine, it was you
would be smashed up. There was famously a car that was deemed “too
dangerous” to release after an incautious motoring journalist took it
for a test drive one Sunday morning.
With the popularity of cars in
Australia and the number of road accidents, drastic measures had to be
taken and the Traffic Accident Commission started airing graphic road
accident commercials on network television as part of various campaigns
mirroring the violence in the Mad Max movies but showing the real
A 20 year retrospective of all the TAC campaigns
from the past 20 years.
To commemorate this 20 year anniversary, a five minute
retrospective of TAC campaigns from the past 20 years has been
compiled. This montage features iconic scenes and images from
commercials that have helped change the way we drive, all edited to
REM’s moving song ‘Everybody Hurts’.
As an aside I did once borrow a VHS tape from the
Australian Centre for the Moving Image called “The Road Worrier” that
was totally based on Mad Max but had a golden driving instructor robot
and advised students to “DON’T BE A NERD! TAKE YOUR TIME”
Examines driving hazards encountered by young
they start to drive: inexperience on roads; traps to avoid when
dealing with car dealers. Also looks at how to acquire good
driving skills. Prod Co
This meant a very flat road with
good looking locations such as the bridge where they took the railings
off to do the stunt where the motorcyclists went into the river. Also on
the same bridge one of the stuntmen actually got hit in the head by the
You can actually go see where they
filmed parts of the first movie fairly easily if you are living or
traveling to Melboure. Due to hoons messing up the place in their cars
the author has left some locations off the list
“Note: Some locations I have
discovered are privately owned, and for that reason are not listed.
Additionally, I have noticed evidence at some other locations that
people have been hooning around in their cars. DON’T let this be you.
It’s rather childish, and spoils it for everyone else when I’m forced to
remove locations from the list as a result. Thanks.”
The second and third films were
filmed a lot further out near Broken Hill and do not have the same feel
to them. The outer suburban malaise where all you can do is drive around
and yelling out at people before wrapping it around a power poll at
100mph is a popular thing for younger drivers to do still, the Victorian
government had to change the laws to restrict the number of passengers
probationary drivers could have due to so many accidents.
Australian band TISM also covered
this topic in their song “Greg! The Stop Sign”
There is also the song “Maltby
Bypass” which I cannot find online that is about the region around
Weribee telling the story of Johnny Cash having is photo taken on the
side of the road and a family car breakdown a decade earlier
Sunday, 10th December 2006
hosted by Frederica 100% Negro and Janelle down the Pint
featuring performances by Alicia, Damian, Jack, Justine,Mrs Mitchell, Lucy,
Mia, Margarine, Nick and Tiffany http://photos.timchuma.com/Dragaoke/index.html
2007 Karaoke Oscars
Sunday, 11th March 2007
Hosted by Fred Negro and Johnny Down the Pint
Singers: George E Bean, Deb & Peter, Ewan, Bongo Womble, Amanda, Carla,
Jeff the Butcher, Melinda, Frank Lee Earnest, Dale http://photos.timchuma.com/KaraokeOscars/index.html
Director: Darlene Johnson
Starring: David Gulpilil, Tommy Lewis, Richard Birrinbirrin, Mary Dhapalany, Frances Djulibing, Jamie Gulpilil
An important ancestral stone gets thrown into a billabong leading to one of the local crocodiles being angered. This crocodile kills the daughter of the man who threw it. He offers to help, but the elders reject his offers and ask his brother (Gulpilil) to help even though he is away living with the white people and a famous actor.
The film is based on the dreaming of David Gulpilil’s mother. The director originally met the actor while working on Rabbit Proof fence and the story was originally meant to be about a troublesome crocodile and involve Steve Irwin, but David Gulpilil felt that story had already been made and he wanted to tell the story in his own words.
I enjoyed that there were spiritual and other worldly elements involved in this movie, but they were more touches to the film and helped emphasise when something had a special significance such as the fire trail left by the crocodile, the flaming billabong, the glowing stone and the crocodile attack in reverse.
The acting was also great in this even from the extras who are acting like you would expect them to act in such a situation. Having seen Dark Age before this movie, the dialog for this film is much better and not corny.
Director: Warwick Thornton
Starring: David Gulpilil, Sophie Lee, Aaron Pedersen
A yuppie (Sophie Lee) buys some Aboriginal art just as investment not caring about the story behind it. This comes back to bite her when she opens the cupboard the next day to find the painting of the fish is only bones having been eaten. The next day she finds her apartment messed up and the other artwork is actually a Mimi. In panic she rings her friend and asks if she knows a “real Aboriginal”. When the man arrives (Aaron Pedersen) the sight of the Mimi scares the shit out of him, but he agrees to help.
Ringing his grandad (David Gulpilil), he first has to put up with a torrent of abuse about pretending to be white but does agree to help if he gets a new fridge. Opening his new fridge he finds the foul-mouthed Mimi waiting for him. He throws it in a cave and walks away to it throwing rocks at him.
There is very little comedy based around Inigenous issues in Australia as it is a delicate subject as any non-indigenous person who would make a joke would be accused of being racist quite likely as they are not in the situation and do not understand the issues involved.
There is room for parody from people who do understand in both the art scene in that Indigenous art is seen as a set things and only certain things would sell and also people who buy the art without knowing the story behind the art and only seeing it as an “investment”.
The Rainbow Serpent (1975)
Based on the book by Dick Roughsey, David Gulpilil narrates the story of creation involving the Rainbow Serpent. While there is not really any animation in this film, the painted backdrops and sound effects do tell the story quite well.
I remember seeing this when I was younger but do not know if it is still available online. Schools used to have actual film reels these films were on.
Showing Melbourne to Maningrida (1973)
Director: David Gulpilil
David Gulpilil films his trip to Melbourne in 1973. Melbourne sure looked boring back then and very white. Lots more older buildings that have since been knocked down also.
There are segments of the film that are not in English but they are few enough that subtitles are not really needed.
I liked the part where David Gulpilil went to buy a suit since everyone in the city was wearing one and he looked like a cowboy. There was a part where he goes into a music store (Allans?) and tries out a guitar also.
This film was made when David Gulpilil was studying film at university.
An excellent time capsule of the era and it is good to see David Gulpilil looking relaxed and natural in a role. I still have to see Charlie’s Country and Another Country.
Director: Arch Nicholson
Starring: John Jarrat, Steve Harris, Nikki Coghill, Cathy Pope, Max Phipps, Burnham Burnham, David Gulpilil, Ray Meagher
There was a killer crocodile movie released a few years ago that was similar to this movie, but I have not seen it. This movie has a lot of fans in the cult genre and the print screened at the festival was Quentin Tarantino’s personal copy.
The storyline is not that much different to any other killer animal movie with an initial attack being played down until there is one in broad daylight and all hell breaks loose. It is pretty graphic in this case with a young child being eaten in broad daylight.
If anything the response from the authorities was muted in this movie. If it had happened today the current government would have done everything bar nuking the crocodile to get rid of it, but they only care how much money they can dig out of the ground.
This movie did screen as part of the David Gulpilil retrospective, but he does not get to do that much in it apart from get ignored by people and a couple of action scenes.
Burnham Burnham gets a lot of corny dialog to deliver but still manages to maintain his dignity. I liked him more in the Howling III where at least he gets to be funny and take the piss on the native spiritual thing “no way I’m just gunna die!”
Another thing to appreciate in this movie is that is a rare chance to see a rare non-Home and Away performance by Ray Meagher, ya flamin’ mongrel!
Yeah, yeah John Jarrat is in it too, but he is a bit of a dork in it. The crocodile it quite well realised and they wisely keep it off screen for most of the running time except at the end.
It does say the film was shot on location in Cairns and Alice Springs, but you can see at least one pick up shot with the word “MARL-“ as in Marlo clearly visible on a building.
While I wouldn’t rush out and see this movie, it is $5 on the Umbrella entertainment website so if you are already buying a bunch of movies it would be easy enough to pick up.
Without meaning to I have done a bulk DVD purchase several times directly before MIFF when I will be watching lots of movies in short time. At least I have something to watch afterwards when I finish watching Skippy. Umbrella Entertainment has a special on at the moment so some of these were $5.
OZ-PLOITATION BOXSET VOL 3: Australia After Dark/The ABC of Love and Sex, Felicity, Barry McKenzie Holds His Own, Mad Dog Morgan, Patrick, Les Patterson Saves the World
Kitty and the Bagman
The Last of the Knucklemen
Death in Brunswick
I had been meaning to buy some more Australian movies for a while as I have seen a few of these and want to watch them again. Also I wanted to write some more reviews for Australian movies as my focus has been overseas for a long time.
I will see how I go after this batch as I am trying not to binge on DVD purchases too much as I want to save money while I am working for the leans times ahead due to the State Election and not being able to do get website work over the Christmas/New Year Period.