| Cast overview, first billed only: | |||
| Nicholas Hope | ... | Bubby | |
| Claire Benito | ... | Mam | |
| Ralph Cotterill | ... | Pop | |
| Syd Brisbane | ... | Yobbo | |
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Nikki Price | ... | Screaming Woman |
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Ullie Birve | ... | Robbed Woman (as Ulli Birve) |
| Audine Leith | ... | Fondled Salvo | |
| Natalie Carr | ... | Cherie the Salvo | |
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Lucia Mastrantone | ... | Pizza Waitress |
| Carmel Johnson | ... | Angel | |
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Jip De Heer | ... | Treelopper |
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James Ammitzboll | ... | Little |
| Grant Piro | ... | Salesman | |
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Celine O'Leary | ... | Woman in Mercedes |
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Dave Flannagan | ... | Cop / Warder (as Dave Flanagan) |
Bad Boy Bubby is just that: a bad boy. So bad, in fact, that his mother has kept him locked in their house he's not entering middle age, by convincing him the air outside's poisonous. After a visit from his estranged father, circumstances force Bubby into the waiting world, a place which is just as unusual to him as he is to the world. Written by Murray Chapman <muzzle@cs.uq.oz.au>
The first thirty minutes of "Bad Boy Bubby" are great horror. Bubby (Nicholas Hope), a strange, retarded man-child, has been imprisoned by his mom (Claire Benito) for thirty years. He hasn't left the house, can't leave the house, because mom's been busy having sex with him and perverting his sponge-like mind. Early on, the film alienates viewers by throwing in a scene involving the killing of a cat. We then follow Bubby as he ventures into the outside world and has a series of amazing, hilarious adventures in which his outsider status is often misinterpreted. He fronts a rock band, gets intimate with a real disabled woman (Heater Slattery), and discovers life beyond the walls of his prison. The film is extremely original and daring, and Hope's performance as Bubby is totally believable. It was shot over a long period by a number of cinematographers, although only Ian Jones gets IMDb credit. It has a unique, anarchic tone, and it is amazing watching how "normal" people interact with the unpretentious, unhinged protagonist. Ultimately, Rolf de Heer succeeds in creating a dark, surreal, powerful study of an outsider in a film that someone ought to double bill with Hal Ashby's "Being There". It's a triumph.