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Filmed in Adelaide, South Australia, Bruce Beresford's adaptation of Devon Minchin's novel is a raw fast-paced independent feature with an all star Australian cast including Bryan Brown, Charles 'Bud' Tingwell, 'Terry Donovan' and Tony Bonner. Story has a group of crooks plan a heist to steal twenty million dollars from a Security Firm counting house only to have the scam overtaken by a crime boss due to a corrupt police detective and the plot foiled by a wily ex-cop. Written by
Tension builds as plan to rob $20 million from a secure counting house goes into the execution stage
"Money Movers" is a very fine 70s style noir crime story, focusing on the planning of a robbery and then showing its actual execution.
Apart from Bryan Brown, the Australian cast is unfamiliar to me, but a number of them were clearly authoritative actors who delivered the goods portraying those doing the robbery and those being robbed. The casting evidently was very good.
The film delivers a real punch. It's tough. The staging is top notch.
The script is not simple. As the film unfolds, one gradually understands what's going on. Exposition of who is who and what is going on is not handed to you on a verbal silver platter. You have to understand it by the action. It will be easier on a second viewing.
There are real feelings of desperation, pressure, deception, corruption and risk-taking being communicated throughout the entire film, and virtually by everyone involved, lawbreakers or not. Police play no part in this film, as it is largely told from the point of view of the robbers.
The 1970s saw film noir go into a new, fresh and original phase. This happened throughout the world. Movie makers are quick to imitate artistic innovations and box office demand helps shape the film content. Films compete in an international market.
Where black and white seems most appropriate for conveying certain feelings and moods such as threat, mystery, confusion, madness, suspense and danger, color seems most appropriate for other kinds of feelings and moods such as corruption, decadence, sexual passion, violence, and opaque characters whose moral values are unclear. Locales of all kinds seem to become more mysterious and often oppressive when filmed in color. This is not to say that a good director cannot capture any desired mood using either film medium.
Somehow, even though different, the mood of this film reminds me of such films as "Villain" (1971), "Prime Cut" (1972) and even "Rolling Thunder" (1977). But it's more likely the forerunner of a movie like "Sexy Beast" (2001).
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