IMDb > One More Minute (1979)
Snapshot
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One More Minute (1979) More at IMDbPro »Snapshot (original title)

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Overview

User Rating:
4.8/10   268 votes »
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Popularity: ?
Up 16% in popularity this week. See why on IMDbPro.
Director:
Writers:
Chris de Roche (written by)
Everett De Roche (written by)
Contact:
View company contact information for One More Minute on IMDbPro.
Release Date:
October 1980 (USA) See more »
Genre:
Tagline:
Don't open the door ... Don't answer the phone ... Don't look in the attic ... It's there and it wants you! See more »
Plot:
Angela is a young hairdresser thrown out of home by her puritantical mother after too many nights out... See more » | Add synopsis »
Plot Keywords:
Awards:
1 nomination See more »
User Reviews:
We All Scream for Ice Cream See more (14 total) »

Cast

  (in credits order) (verified as complete)
Chantal Contouri ... Madeline
Robert Bruning ... Elmer

Sigrid Thornton ... Angela

Hugh Keays-Byrne ... Linsey
Denise Drysdale ... Lily
Vincent Gil ... Daryl
Jon Sidney ... Mr. Pluckett
Jacqui Gordon ... Becky

Julia Blake ... Mrs. Bailey
Peter Stratford ... Roger
Christine Amor ... Paula
Lulu Pinkus ... Wendy
Stewart Faichney ... Peter
Chris Milne ... Book Marker
Bob Brown ... Captain Rock
Peter Felmingham ... Boris
rest of cast listed alphabetically:
Steven Clark ... Barman (uncredited)
Everett De Roche ... Construction Worker (uncredited)

Directed by
Simon Wincer 
 
Writing credits
(in alphabetical order)
Chris de Roche  written by
Everett De Roche  written by

Produced by
William Fayman .... executive producer
Antony I. Ginnane .... producer
Barbi Taylor .... associate producer
 
Original Music by
Brian May 
 
Cinematography by
Vincent Monton 
 
Film Editing by
Philip Reid 
 
Production Design by
Jon Dowding 
 
Art Direction by
Jill Eden 
 
Costume Design by
Aphrodite Kondos  (as Aphrodite Jansen)
 
Makeup Department
José Luis Pérez .... makeup department head
 
Second Unit Director or Assistant Director
Tom Burstall .... first assistant director
John Hipwell .... second assistant director
 
Sound Department
Paul Clark .... sound recordist
Peter Fenton .... sound mixer
Dean Gawen .... sound editor
Terry Rodman .... sound editor
 
Special Effects by
Chris Murray .... special effects supervisor
 
Visual Effects by
Roger Cowland .... visual effects
 
Stunts
Grant Page .... fire stunts
 
Camera and Electrical Department
David Brostoff .... focus puller
Tony Holtham .... gaffer
Louis Irving .... camera operator
Ian Jones .... clapper loader
Noel Mudie .... key grip
Geoff Richardson .... second grip
Pieter van Santen .... focus puller (as Peter Van Santen)
Colin Williams .... best boy
Suzy Wood .... still photographer
 
Editorial Department
Arthur Cambridge .... color grader
Margaret Cardin .... negative cutter
Bill Gooley .... color consultant
 
Music Department
Brian May .... conductor
Roger Savage .... music engineer
 
Other crew
Jennifer Barty .... production assistant
Stuart Beatty .... runner
David Coggins .... caterer
Georgina Greenhill .... titles
Michael Roseby .... production accountant
Ray Strong .... titles
Jan Tyrrell .... continuity
Peter White .... stills assistant
Ian Williams .... publicist
 

Production CompaniesDistributorsOther Companies

Additional Details

Also Known As:
"Snapshot" - Australia (original title)
"The Day After Halloween" - USA (DVD title)
"The Day Before Halloween" - USA
"The Night After Halloween" - USA (video title)
See more »
Runtime:
92 min | 101 min (DVD)
Country:
Language:
Color:
Color (Eastmancolor)
Aspect Ratio:
2.35 : 1 See more »
Sound Mix:
Certification:
Argentina:X (original rating) | Argentina:16 (re-rating) | Australia:M | UK:15 | USA:R | West Germany:Not Rated

Did You Know?

Trivia:
This Australian picture sold well to more than twenty territories at the international film market MIFED in 1978, a great feat for an Australian movie at that time.See more »
Quotes:
Angela:I had a very strict upbringing.
Madeline:So did I. But I was banging like a bunny before I was out of my first training bra. Trouble is, it wasn't until I was your age that I discovered I was banging the wrong gong.
See more »
Soundtrack:
ThereSee more »

FAQ

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2 out of 2 people found the following review useful.
We All Scream for Ice Cream, 28 December 2014
Author: Dries Vermeulen (Nodriesrespect) from Brugge, Belgium

Australian cinema has always been somewhat schizophrenic. On one hand, you have your lofty art-house efforts made by the likes of Peter Weir or Peter Noyce, though both of these pillars of pictorial culture have been known to let their hair down on occasion. Thankfully, these are balanced out by a heaping helping of what has now affectionately become known as "Ozploitation" : kinda like the Down Under version of quintessential drive-in fodder. Likewise, they mostly thrived throughout the '70s and '80s and were given a lucrative second life in the early days of VHS. These were the flicks that put bums in seats domestically, frequently featuring enough sex 'n violence to satiate the Saturday night crowd.

Producer Antony Ginnane proved a key figure in the history of them Aussie "aberrations", cheerfully bankrolling Richard Franklin's sexploitation classic FANTASM (and its inevitable sequel FANTASM COMES AGAIN!) as well as both versions - 1982 original and 2014 remake - of British Brian Trenchard-Smith's notorious survival slasher TURKEY SHOOT. Clearly, this is a guy who can coax otherwise respectable filmmakers out of their comfort zone. Case in point being dependable dullard Simon Wincer who went on to fail-safe family features like D.A.R.Y.L., the Disney-funded OPERATION DUMBO DROP and the phenomenally successful FREE WILLY. With a background in domestic cathode ray crime drama like HOMICIDE and CHOPPER SQUAD, Wincer was seriously prepared to "slum" it when Ginnane gave him the opportunity to leap from to small to big screen which resulted in a pair of practically impossible to pigeonhole genre flicks : the quirky fantasy HARLEQUIN (1980) and its predecessor SNAPSHOT.

Posing as a routine slice 'n dicer (its US release title was THE DAY AFTER HALLOWEEN!), this is actually anything but. Apart from an unsettling opening scene, telegraphing its conclusion with the remnants of an as of yet unidentified charred corpse and a female crime scene interloper hysterically calling out for "Angie", it takes more than half the film's running time before anything overtly horrible takes place. What viewers get instead is a surprisingly engrossing character-based drama about a naive young innocent (Sigrid Thornton's tellingly named Angela) in the big bad city, in this case Melbourne. A former child actress, Thornton would proceed to become one of the Continent's most revered thespians, this particular oddity a singular "blot" on an otherwise spotless state of service. If she realized this was time spent in the "gutter", her effortlessly engaging performance certainly doesn't bear any traces thereof.

A timid little hairdresser at the salon of domineering Mr. Plunkett (Jon Sidney, who played General MacArthur in Philippe Mora's DEATH OF A SOLDIER), Angela makes an immediate life-changing decision at the behest of worldly model Madeline (exceptionally well-portrayed by Greek-born Chantal Contouri who hit a career high in '79 with this and Rod Hardy's oddball vampire flick THIRST) to "give it all up" in pursuit of a modeling career with "outré" fashion photographer Linsey (Hugh Keays-Byrne, yep, MAD MAX's indelible Toecutter himself). Finding her suitcase packed and the locks changed by her overbearing mother (respected UK actress Julia Blake who has but one, albeit absolutely unforgettable scene) in the wake of a nude photo spread, Angie moves into Linsey's studio where several hapless "professionals" seem to pass through on their way up or down the social ladder.

Notwithstanding her apparently harmless shutterbug, men in general seem to spell bad news for the up 'n coming cover cutie. There's older ex-boyfriend Daryl (creepy Vincent Gil, another MAD MAX alumnus) who stalks her all across town in his Mr. Whippy ice cream van (a curiously effective choice of vehicle) and even Madeline's film producer husband (the late veteran character actor Robert Bruning) can barely keep his hands off once his wife's back is turned. Meanwhile, she's receiving strange threats and someone may indeed want her dead but who ? Bearing in mind the movie's unsettling start, you just know there will be tears before bedtime.

Fairly unpredictable screenplay by Everett De Roche, who wrote the cult favorites ROAD GAMES (Franklin, 1981) and RAZORBACK (Russell Mulcahy, 1984), keeps the audience guessing by cleverly turning clichés upside down. This doesn't always hit the bullseye (a final twist prefiguring Gordon Willis' notorious WINDOWS leaves a bad aftertaste) but at least blocks out boredom setting in. Composer Brian May, whose ivory-tinkling score sounds like a cross between '70s TV show cues and Golden Age porno music (awesome, if you're like me, or awful, if you're not), is NOT the guy from Queen but one of Australia's busiest soundtrack suppliers of the period, adding atmosphere to the MAD MAX movies (again!) and assorted genre treats such as David Hemmings' THE SURVIVOR and Manny Cotto's DR. GIGGLES. Two pathetic pop songs by the band "Sherbet" (cool name...NOT!) are just icing on the cake. The boobs 'n blood quotient is rather mild but fans will be pleased to know that Thornton bares 'em without shame. This is one flick that knows its target audience better than they know themselves and treats it with more respect than you'd expect from exploitation entrepreneurs.

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