Romantic comedy that mixes magical realism with traditional Australian urban-outback contrasts. The plot centers on a bored woman (the eponymous Wendy) who conjures up the perfect lover, ... See full summary »
Hanif and Dean steal a cache of drugs from Dean's psychotic brother Jerry, and at the last minute get a lift with Mimi as she decides to drive to Perth. They pick up a drunken singer, ... See full summary »
"Reckless Kelly is the Australian Robin Hood". Kelly is a bank robber, a pop-culture hero and video shop owner. This modern story tells how he is furious when a Japanese company wants to ... See full summary »
Story of the ways in which insurance investigator Roland Copping interferes in and manipulates the lives of others with outrageous games and gimmicks. Eventually he becomes involved in an ... See full summary »
Set in 1980s Nottingham, social worker Margaret Humphreys holds the British government accountable for child migration schemes and reunites the children involved -- now adults living mostly in Australia -- with their parents in Britain.
This romantic comedy takes place over the course of one year - opening on New Year's Eve of one year and closing exactly one year later. The film focuses on three women living together in a... See full summary »
Dramatization of the 1932/33 Test cricket series between England and Australia. Played in Australia, the series gained notoriety in Australian and worldwide cricketing history for the fact ... See full summary »
This Australian movie is set during the Australian Labor Party's "Whitlam Era" of Australian National Federal Government which was between 1972 and 1975. Gough Whitlam was Prime Minister of Australia during this period. Prior to principal photography, the so called "Whitlam Sequence" and all other references to Whitlam had to be removed from the picture's first act. Staunch Australian Labor Party advocate and co-writer of this film, Bob Ellis, said in Australian film magazine 'Cinema Papers' that "...this was so that the NSWFC [New South Wales Film Corporation] could pose as though it hadn't been appointed by a Labor Government and was not approving of Whitlam...Losing Whitlam wasn't all that serious, but losing references to him destroyed the structure of all the scenes in which those references occurred - and that may have been five or six. As a result, the first ten minutes of the film was wrecked...". See more »
This Australian film centres on Judy Morris as Fran, a university research assistant at a crisis as she turns 30, and re-evaluating the men in her life. That the screenplay contains no great drama doesn't distract from what is a pleasant if ultimately unsubstantial viewing experience. One can hardly complain about the obtuseness of a denouement, where the heroine's choice is to run away, when what she runs from is just as weightless.
Given that one of the writers is Bob Ellis, it's no surprise that the screenplay is full of purple prose and pretentious literary references, apparently to indicate that these people are educated. However, there is some amusing banter and funny lines. "Sex is of no consequence in politics, unless you're caught in bed with a live man or a dead woman". "I got to the point of accepting what I've got, then started to see it deteriorate". And, in response to a I love you, Fran says "And does anything follow on from that?" Fran is described as a woman "with a masculine mind", and a failed writer, who narrates letters to the first wife of her employer, who is travelling in Greece, and Fran's problem in not having a partner are rationalised by her being told that "All the good men were killed off in World War 1". However, this doesn't mean that she has any shortage of suitors, juggling her married lover, her employer, a high school sweetheart she meets when visiting her mother on the coast, a salesman, and a Cabinet Minister.
The narrative introduces some interesting touches - the wife of the married man Fran is seeing appears and asks to join in, much to the shock of the man; there is a long sex scene involving the complication of impotence; and inexplicably lots of scenes of eating. The encounter with the salesman is saved from being a study of opportunistic chauvinism, with a near-rape, by the final funny insult by Chris Haywood. And it's a relief when the narrative moves away from the married man, since as a Canberra Minister's assistant, he is clearly an Ellis stand-in.
Morris has a likeable comic dryness, and as well as a combination of lyricism (somewhat overdrawn by the music score of composer Bruce Smeaton) and appealing clownishness. She adds a laugh to the scene where she is being inexpertly kissed in a car, and asked what is wrong, answers "The door handle".
Director Christopher McGill uses a fake looking airplane interior, and the Australian entertainer Mo on television.
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