This was a most excellent Ozzie film that I watched this evening. A delightful comedy. It wasn't that kind to Ozzies, but it was very funny. It was also quite strange in its way, but it was kind enough to give strong hints as to its plot development methods in one of the sub-plots.
I hadn't understood what people saw in line-dancing, but I think that I now have an inkling. It was also interesting to see how the yankish idiom appeals to the incoherent everywhere - the film exploited this point to excellent effect if a trifle cruelly, if you have any empathy with the incoherent.
It is so good to see the occasional well-made and clever film that turns up. I suppose that their explanation of how the plot was devised might be seen by some as a post-modernist infestation, but I felt that it was a) in good fun and, at worst, b) a good satire of post-modernist triviality taking itself so seriously as to think it is clever.
I'm not quite clear why it was showing at the downstairs cinema. There was a little French in it, with sub-titles, but surely not enough to class it as an 'art' film. Have Ster-Kinekor simply decided that Yankish films go upstairs and intelligent ones downstairs? It seems rather sad for the masses who go only to upstairs films to be missing this friendly and good-humoured comedy.
It is, I suppose, a little bit of a black comedy, in places, plenty of dismembered limbs, decapitated corpses and crushed dogs. All these are, however, in the best possible taste.
It seems strangely short of stock Oz stereotypes. Very little beer is drunk, the macho fellow doesn't do particularly well and the poofdahs generally have a nice time of it.
What was the reference to the Frenchman on the beach with the big knife? I thought of Albert Camus' 'The Outsider' (or 'The Stranger') which starts that way. A comment here suggests that it was a particularly Australian reference.
I hadn't understood what people saw in line-dancing, but I think that I now have an inkling. It was also interesting to see how the yankish idiom appeals to the incoherent everywhere - the film exploited this point to excellent effect if a trifle cruelly, if you have any empathy with the incoherent.
It is so good to see the occasional well-made and clever film that turns up. I suppose that their explanation of how the plot was devised might be seen by some as a post-modernist infestation, but I felt that it was a) in good fun and, at worst, b) a good satire of post-modernist triviality taking itself so seriously as to think it is clever.
I'm not quite clear why it was showing at the downstairs cinema. There was a little French in it, with sub-titles, but surely not enough to class it as an 'art' film. Have Ster-Kinekor simply decided that Yankish films go upstairs and intelligent ones downstairs? It seems rather sad for the masses who go only to upstairs films to be missing this friendly and good-humoured comedy.
It is, I suppose, a little bit of a black comedy, in places, plenty of dismembered limbs, decapitated corpses and crushed dogs. All these are, however, in the best possible taste.
It seems strangely short of stock Oz stereotypes. Very little beer is drunk, the macho fellow doesn't do particularly well and the poofdahs generally have a nice time of it.
What was the reference to the Frenchman on the beach with the big knife? I thought of Albert Camus' 'The Outsider' (or 'The Stranger') which starts that way. A comment here suggests that it was a particularly Australian reference.