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The Coca-Cola Kid (1985)

R | | Comedy, Drama | 14 July 1985 (USA)
An eccentric marketing guru visits a Coca-Cola subsidiary in Australia to try and increase market penetration. He finds zero penetration in a valley owned by an old man who makes his own ... See full summary »

Director:

Dusan Makavejev

Writers:

Frank Moorhouse (screenplay by), Denny Lawrence (additional dialogue) | 1 more credit »
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Cast

Cast overview, first billed only:
Eric Roberts ... Becker
Greta Scacchi ... Terri
Bill Kerr ... T. George McDowell
Chris Haywood ... Kim
Kris McQuade ... Juliana
Max Gillies ... Frank
Tony Barry ... Bushman
Paul Chubb ... Fred
David Slingsby David Slingsby ... Waiter
Tim Finn Tim Finn ... Phillip
Colleen Clifford Colleen Clifford ... Mrs. Haversham
Rebecca Smart Rebecca Smart ... DMZ
Esben Storm Esben Storm ... Country Hotel Manager
Steve Dodd Steve Dodd ... Mr. Joe
Ian Gilmour ... Marjorie
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Storyline

An eccentric marketing guru visits a Coca-Cola subsidiary in Australia to try and increase market penetration. He finds zero penetration in a valley owned by an old man who makes his own soft drinks, and visits the valley to see why. After "the Kid's" persistence is tested he's given a tour of the man's plant, and they begin talking of a joint venture. Things get more complicated when the Coca-Cola man begins falling in love with his temporary secretary, who seems to have connections to the valley. Written by Ed Sutton <esutton@mindspring.com>

Plot Summary | Add Synopsis

Taglines:

A movie felt never so refreshing! See more »

Genres:

Comedy | Drama

Certificate:

R | See all certifications »

Parents Guide:

View content advisory »
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Details

Country:

Australia

Language:

English

Release Date:

14 July 1985 (USA) See more »

Also Known As:

Coca Cola Kid See more »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Dolby Stereo

Color:

Color (Eastmancolor)

Aspect Ratio:

1.85 : 1
See full technical specs »
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Did You Know?

Trivia

The film was well-known within the film industry to have spent a very long time in development hell. According to show-business trade paper 'Variety', the movie was "a decade in preparation and two years in actual production". See more »

Goofs

When Terri is getting dressed, she has the pants pulled up and is starting to pull up the suspenders. The shot shifts and she is just pulling up the pants. See more »

Quotes

[first lines]
Cabin Steward: G'day ladies and gentlemen. Welcome to Australia.
See more »

Crazy Credits

The film opens with the following disclaimer, in this exact way as written heightening the exact words in capital letters. "This FILM is a WORK of FICTION. Neither the FILM nor its MAKERS have any CONNECTION with THE COCA-COLA COMPANY or any of its SUBSIDIARIES or AFFILIATES. THE COCA-COLA COMPANY has not licensed, sponsored or approved of this FILM in any way. All PERSONS, EVENTS and CHARACTERS in this FILM are entirely fictional. The FILM in no WAY purports to present an accurate ACCOUNT of THE COCA-COLA COMPANY, its SUBSIDIARIES or AFFILIATES in AUSTRALIA - PAST, PRESENT or FUTURE. COCA-COLA and COKE are registered TRADEMARKS which identify the same PRODUCT of THE COCA-COLA COMPANY. The DYNAMIC RIBBON DEVICE is also a TRADEMARK of THE COCA-COLA COMPANY." See more »

Connections

Referenced in Coca Cola Kid (1997) See more »

Soundtracks

Coca-Cola Jingle
Composed & written by Tim Finn
Performed by Tim Finn, Neil Finn, Nigel Griggs, Ricky Fataar & Paul Hester
Produced by Mark Moffatt (as Mark Moffat) & Ricky Fataar
With the permission of Mushroom Records, Mushroom Music & Enz Music
See more »

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User Reviews

About Two-Thirds of a Really Fine Movie and Then an Awful Mess of a Last Act
23 February 2001 | by d_fienbergSee all my reviews

The opening titles for The Coca-Cola Kid make it clear that the film is in no way sponsored by Coca-Cola or the Coca-Cola bottling company. Obviously the company felt comfortable enough with the final product to let the film use their name, but it's hardly a glowing picture of the soft drink giant. In The Coca-Cola Kid, Coca-Cola is the face of American Imperialism. When company trouble shooter Becker (Eric Roberts) declares, "The world will not be truly free until Coke is available everywhere," he's speaking without irony. This film, then, is about Becker's attempts to help Coca-Cola colonize Australia, but what starts off as a film of comic promise and originality becomes bogged down in convention and cliché to the point that it's difficult by the final reel to remember what was so appealing at the beginning.

The Coca-Cola Kid fits nicely in the genre of American Corporate Fish Out Of Water tales. If you've seen the delightful Local Hero, for example, you'll know that no matter what kind of tough American goes off to the rural wasteland, he'll change, enlightened by the small town quirks and wisdom he was meant to subvert. That's not really giving anything away in this film, because the last act doesn't play out as you expect. In fact, it hardly plays out at all.

Becker arrives in Australia to help boost lagging sales. It turns out that there's a whole region of the country where no Coke is sold at all. Becker, a former marine with the proverbial "unorthodox way of doing business," discovers that that region is ruled over by T. George McDowell (Bill Kerr) a gruff man of homespun wisdom, but more importantly, homemade soft drinks, made from real fruit. Even though their first encounter is rough, Becker is determined to fight off the advances of his secretary-with-a-secret (Greta Scacchi) and the hotel waiter who mistakes him for an arms dealer to do the job he was sent to do.

Directed by Dusan Makavejev, The Coca-Cola Kid develops a wonderful momentum early on. In fact, the first hour of the film is an absolute gem. Eric Roberts's performance to that point is perfect. His presentation to the bemused Coke officials is comic gold, as he waxes poetic about the fizzy beverage, even holding it up to the light bathing the room in its brown glow. Roberts's early scenes with Scacchi have a nice screwball touch and his interactions with Scacchi's moppet daughter provide a nice depth for the character, hinting at something beyond his intensity. There's a nifty sequence where Becker enlists a studio band to try to come up with the "sound of Australia" where they go through several absurd suggestions before coming up with a truly catchy jingle.

I'm not sure how far it is into the movie, but for me things begin to go south immediately after that recording session. For reasons completely unclear to me, the secretary has Becker invited to a party to catch him in an awkward position. This involves completely random intimations of homosexuality and ends of feeling both forced and pointless. The scene is so clumsy that it leaves a bad taste that begins to spread.

It rapidly becomes clear that The Coca-Cola Kid isn't going to omit a single convention of Australian culture. You want an old bushman with a diggerydoo (inevitably misspelled, but my dictionary is letting me down)? You've got it. An adorable wounded Kangaroo? Bingo! And a slightly inbred man singing a rousing chorus of "Walzing Matilda?" Yup-Yup. In fact, the vision of Australia put forth by the film is so cookie-cutter that it's hard to feel bad about the culture being overrun by American interests. You support Coke because you figure they're at least putting forth a good product.

Eric Roberts's performance finally ends up being a little infuriating because he's not given any opportunity or reason to be anything other than amusingly scary. The film falls apart at just the point you wish Roberts would go through the obligatory character alteration, but there's just no chance. He's stranded. Ditto Scacchi. She adorable and makes the sexiest Santa in the history of cinema, but her character's payoff is weak. Bill Kerr is excellent for the most part, but you can't help but feel that his cagey old Outback Vet is a character we've seen a thousand times.

The Coca-Cola Kid's best and most consistent feature is its cinematography by Dean Semler. The Oscar winner (for Dances With Wolves) does what the script and director can't do -- he creates the ironic counterpoint between the Outback, the big city, and Eric Roberts. The film has a dynamic look which, unlike the narrative, doesn't fall apart at the end.

I do feel bad about only giving this movie a 6/10, but I guess I should have just turned it off early. Off to drink a Coke...


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