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3 out of 4 people found the following review useful:

Classic Aussie Aboriginal Cultural Issues Flick

Author: sydneyswesternsuburbs from Australia
11 June 2011

Director Phillip Noyce who also created the classic flick, Clear and Present Danger 1994 and another classic Aboriginal cultural issues flick, Rabbit-Proof Fence 2002 has created another 60 minute gem in Backroads.

It stars the late legendary Bill Hunter who has also been in other classic flicks, Gallipoli 1981, Mad Dog Morgan 1976, Every night Every night 1995, Blue Murder 1995, Stone 1974 and the television series Spyforce 1971-73.

Also starring is Gary Foley who was also in the classic flick, Dogs in Space 1986.

I enjoyed the road trip banter, the drinking and the Australian scenery.

If you enjoyed this as much as I did then check out other classic Aussie Aboriginal cultural issues flicks, Ten Canoes 2006, Samson and Delilah 2009, Yolngu Boy 2001, Blackfellas 1992, Chant of Jimmie Blacksmith 1978, Walkabout 1971, Dead Heart 1996 and Jedda 1955.

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3 out of 4 people found the following review useful:

Australia's racial Easy Rider?

Author: bamptonj from Melbourne
5 March 2003

This movie reminded me of EASY RIDER. While not documenting the emergence of a freer counter-culture or revealing the shortcomings of contemporary society, it flowed on similarly as a thoroughly fluid road-movie that sought to uncover deeply-engrained prejudices that still persist, even latently, in attitude formation: black or white.

The two protagonists are once again outcasts; Bill the itinerant, petty-thief rebel-rouser and Dave his good, clear-thinking, articulate Aboriginal friend. They pick up hitchhikers on their way across Northern New South Wales, stopping by Dave's reservation and generally having a good time. The movies ends in an element of pathos analogous to EASY RIDER.

The movie gives the actors scope to make a balanced statement on the nature of racism. Bill Hunter plays an essentially fair, full-loving and decent bloke, who still had ingrained reservations about fully recognising Aboriginal cultural-sovereignty. BACKROADS succeeds because it is sensible and makes no definite statement on the race debate.

A very enjoyable film that probably gave the Australian Film Commission courage to make others like "Wrong Side Of The Road".

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Just... wow!

Author: matt-hayward-891-617729 from Australia
25 January 2014

A lust for gritty, seventies Australiana was quenched by this gem. It's not for everyone and clearly unapologetically so. No sooner has I watched an SBS special on Aboriginal activists had I realised that one of the lead actors is one of Australia's most notorious. It speaks to a certain reality about us as Australians and a kind of awkward adolescent phase of social integration that was the seventies. I'd like to think a lot has changed, perhaps it hasn't. But it's who we are and it's unmistakably captured here. Despite all that, it's a great time capsule of the bush in the late seventies and well worth a watch.

I'm not sure who the bush Aboriginal musos were, but they were absolutely awesome. We should be as proud of them as the Americans are the blues.

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0 out of 2 people found the following review useful:

On the road with Noyce.

Author: mifunesamurai from Australia
7 February 2003

Early effort from director Noyce dealing with an Aboriginal and a white man on the road to self destruction. It brings up important issues on racial relationships in Australia but not enough time was given to this important topic.

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1 out of 11 people found the following review useful:

Boring, disjointed farce filled with agendas to bash your skull in.

Author: SmokeyTee from Wellington, New Zealand
20 January 2008

We stomached about 30 minutes of this silly film.

I'm all for finding new, raw 'talent' and dealing with 'reality'. The two main characters are social bottom feeders and although they are poles apart presumably through their one-track dialogue about the plight of the aboriginal peoples they eventually find understanding... unfortunately we didn;t make it there with them! Their (constant) debates seem forced and completely unbelievable and clearly just there to provide a medium to push the left-wing agenda of the film maker. This grew tired VERY quickly.

The film jumps haphazardly from scenes of rest or waiting to driving with little purpose or direction. Where are we going? Why did we do that!? These sorts of questions valid in any other film are best left at the door...

I wanted to see this because I enjoy Australian films and especially like time capsules from the 60s and 70s. Avoid this agenda packed snore fest, see 'They're a Weird Mob' for queer vintage Aus instead...

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