Tag Archives: Bill Hunter

Heatwave (1982, Phillip Noyce)

Heatwave is not a film noir. It seems like it ought to be one, but it’s not. It’s got all the pieces to be a film noir, but the way director Noyce assembles them doesn’t result in noir. There are occasionally these heavily stylized slow motion sequences. Sometimes Noyce and editor John Scott emphasize relief, sometimes violence, sometimes heat. The film’s narrative distance isn’t noir enough. It’s a really cool narrative distance, but it’s not at all noir. It’s a breakneck paced thriller, only with two protagonists who don’t realize they’re in a thriller. They think they’re in entirely different stories.

Second-billed Richard Moir (who’s actually the lead) is an architect whose big new project is running into some snags. The project is a futuristic condo, made mostly of glass (Noyce never gives the model a close-up so nothing’s too specific), with trees inside and natural lighting and so on. To get the project built, the developers are going to kick out the working class residents and tear down their homes. The project is called “Eden”; Heatwave is perfectly matter-of-fact with quite a few things. It barely runs ninety minutes and has a bunch of characters, lots of story; Noyce and co-writer Marc Rosenberg never waste time, they’re pragmatic to the point of obvious but it works because Moir’s astoundingly naive. So long as he doesn’t have to compromise his designs, Moir doesn’t really care about anything. Wife Anna Maria Monticelli, who also works with him in some unexplained capacity, is a social climber. Moir’s from a working class background, Monticelli’s a blue blood. She wants to show the world her man’s made good. He’s indifferent but happy to play along; he’s getting recognized for his amazing architectural designs, everything else is gravy. But not even gravy worth caring about too much.

Then there’s top-billed Judy Davis. She’s a blue blood who went to college, got radicalized, now tries to help the working class with their plight. She works for independent, crusading journalist Carole Skinner. Skinner’s not a blue blood and she lends Davis some cred. There’s a non-subplot about Skinner and Moir being good friends before Moir went to the U.S. to study architecture and get better indoctrinated with capitalism. When he got back they weren’t friends any more. Or so the movie says. Moir’s got zero reaction to Skinner’s eventual mysterious disappearance. Notice I just gave Davis’s paragraph away? Gave it to Moir? Because the movie does the same thing, over and over.

It’s fine, it works out. But Moir’s nowhere near as interesting as Davis. At least in terms of performance. Moir’s just aloof and naive. Kind of pseudo-preppy. He’s constantly tagging along with the real alpha males, developer Chris Haywood and lawyer John Gregg. Davis gets to do a lot more. Even when Moir gets interested in Skinner’s disappearance, it’s only because he’s not cool with how scummy Haywood and Gregg are willing to go evicting residents. And because not-independent newspaper reporter and fun old guy John Meillon wants Moir to get involved.

Moir does stay involved for his own reasons… primarily Davis. He’s got the hots for Davis because she says and thinks all the things he didn’t know he kind of wanted to say or think. As for Davis… her being interested too is one of the film’s plotting efficiencies. Maybe one Noyce should’ve taken more time with, but Davis is always getting shafted on story time.

She gets a decent amount of action, but she also ends up with a bunch of the exposition. Noyce has this great device for exposition—characters sitting, listening to the radio. Because it’s too hot to do much besides sit and listen to the radio. Heatwave takes place during a winter heatwave. The film starts before Christmas, ends on New Year’s. Everyone is miserably hot, visibly miserably hot, no one ever complains, they just endure it as best they can. It’s a great built-in constant, agitating the plot whenever needed.

Heatwave’s efficient to a fault.

Excellent performance from Davis, really good one from Moir. Haywood’s good, Gregg’s good. Meillon’s decent. He’s functional for the script more than anything else. Meillon’s able to imply depth; the script doesn’t want it from him. It would be really nice if Gillian Jones were able to imply depth. She’s got a small but important role and… it’s not a good performance. Might not be Jones’s fault, given her character and the character’s writing. But still. That aspect of the film being better might have brought it up to another level.

Then again Jones is one of the noir pieces and Heatwave isn’t a noir.

Great photography Vincent Monton. Good music from Cameron Allan. Ross Major’s production design is another plus. Noyce’s direction is extravagant but never self-indulgent.

Heatwave is a rather good stiflingly hot Christmas, not noir but noir-y, stylish conspiracy thriller.

3/4★★★

CREDITS

Directed by Phillip Noyce; screenplay by Noyce and Marc Rosenberg, based on a story by Mark Stiles and Tim Gooding; director of photography, Vincent Monton; edited by John Scott; music by Cameron Allan; production designer, Ross Major; produced by Hilary Linstead; released by Roadshow Film Distributors.

Starring Judy Davis (Kate Dean), Richard Moir (Stephen West), Chris Haywood (Peter Houseman), Bill Hunter (Robert Duncan), John Gregg (Philip Lawson), Anna Maria Monticelli (Victoria West), John Meillon (Freddie Dwyer), Dennis Miller (Mick Davies), Carole Skinner (Mary Ford), Gillian Jones (Barbie Lee Taylor), Frank Gallacher (Dick Molnar), Tui Bow (Annie), and Don Crosby (Jim Taylor).


This post is part of the Hotter’nell Blogathon hosted by Steve of MovieMovieBlogBlog II.

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Muriel's Wedding (1994, P.J. Hogan)

There are a lot of things going on in Muriel’s Wedding, so many writer-director Hogan’s script gets to the point he’s constantly raveling and unraveling foreground and background threads. The threads are all wrapped around the film’s center–lead Toni Collette’s complicated desire to change herself. She mostly accomplishes it through various lies, though cheque fraud plays a big part. Her lying becomes, as the film goes on, a compulsion, one the viewer can identify even when it’s unclear how Collette is processing the situation. Despite her various wrongdoings and insensitivites, Collette is a sympathetic protagonist; she’s ill-equipped for the world, which the first act explores in detail.

Collette lives in a useless Australian tourist town. She’s a high school dropout with few career prospects, unemployed, living at home. Her father (Bill Hunter) is a mildly corrupt local politician who verbally demeans Collette, her siblings, and wife Jeanie Drynan at every opportunity. He’s also a little too friendly with local beauty supply maven Gennie Nevinson. All of Collette’s friends are insipid, shallow beauty queens who mock Collette about her physical appearance.

Everything changes when Collette runs into former high school classmate Rachel Griffiths, who could care less what Collette’s faux friends think of her and thinks Collette is doing just fine. Unfortunately, quite a bit of Griffiths’s opinion is based on Collette’s lies. Many of the lies involve Collette’s desire to get married, which would–in Collette’s eyes–undoubtedly result in her becoming a new, improved person. At the same time, Collette and Griffiths build this otherwise sincere friendship, with Griffiths the booster Collette never had.

Hogan’s script has a lot of laughs in the first half, which has Collette and Griffiths meeting on a tropical vacation, as well as during their move to the big city. The present action is rather fast in Muriel’s Wedding; Hogan and editor Jill Bilcock sometimes identifying don’t slow down to identify how much time has passed between scenes. Rarely in the next subsequent scene and usually in the one after. It keeps the film, which almost two hours, sailing.

Despite some rather bleak circumstances, Muriel’s Wedding is never a black comedy. Tragedies and hardships aren’t for laughs. The characters can be funny–or just plain mocked–but not their circumstances. As funny as the film gets, Hogan always relies on the actors to bring grounding, particularly Collette, Griffiths, Drynan, and Hunter. The laughs often come from how uncomfortable moments can get, whether through Collette’s deceptions (or naiveté) or Hunter’s willful mistreatment of his family.

As the characters react to the plot’s various curveballs during the second act, Hogan narrows the film to Collette. It also changes the pace of things. Hogan has more content in summary scene exposition than in his non-summary sequences. It fits in great with the slightly fantastical characters.

Great supporting performances from Hunter and Drynan. Griffiths is wonderful, ably essaying a part bouncing between comedy and drama. But Collette is the whole show. Even when Griffiths is being hilarious, Collette commands the attention. Hogan exquisitely juggles the dynamic of their relationship, with Martin McGrath’s moody but pragmatic photography playing a big part.

The only problem is the rushed third act, where Hogan speeds a tad fast through all the right notes.

Muriel’s Wedding is magnificent.

Oh, and a big part of the film is Collette’s healthiest obsession–ABBA. So lots of great ABBA music, sometimes for comic effect, sometimes for emotional.

3.5/4★★★½

CREDITS

Written and directed by P.J. Hogan; director of photography, Martin McGrath; edited by Jill Bilcock; music by Peter Best; production designer, Paddy Reardon; produced by Lynda House and Jocelyn Moorhouse; released by Roadshow Film Distributors.

Starring Toni Collette (Muriel Heslop), Rachel Griffiths (Rhonda Epinstall), Bill Hunter (Bill Heslop), Jeanie Drynan (Betty Heslop), Gennie Nevinson (Deidre Chambers), Daniel Lapaine (David Van Arkle), and Matt Day (Brice Nobes).


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Newsfront (1978, Phillip Noyce)

Newsfront is hard to describe. It’s a sincere attempt to lionize Australian newsreel cameramen, mixing in melodrama, bad music, and some good performances and direction. It’s a film very excited with itself–there’s beautiful production design and costumes of late 1940s to middle 1950s Australia–and very sure of itself. It unabashedly ends with a shot of the newsreels superimposed over the dutiful, incorruptible newsreel cameraman, turning his camera to get the real news, while grandiose music swelling.

On one hand, the film’s so unaware of itself, it’s hard to find fault with the melodrama, on the other hand, it’s so incredibly melodramatic–music frequently swells in ludicrous places, during two person conversations, ruining potentially good moments–it’s hard not to get upset with the film. There’s wasn’t much potential to Newsfront, so it’s hard to get too angry and the film’s barely varies in quality throughout (the end strikes a nasty hit, however), but it’s somehow very watchable.

The film beautifully mixes original newsreel footage with black and white photography, but then for scenes without the newsreels, switches to color. While the color shows off the production design, it ruins the visual continuity of the film. Newsfront‘s direction is particularly bothersome, because many of Noyce’s shots are unspeakably wonderful. Except he has a habit of moving the camera–swirling it around the room–during conversations, drawing all the attention to the camera movement, forcefully pulling the viewer’s attention from… the story.

Besides Bill Hunter’s infinitely perplexing existence as a heartthrob (is this guy really considered good-looking by Australian standards, I can’t believe it, William Bendix was better looking), he turns in a decent performance as the ostensible protagonist. It’s not enough to surmount the script, but it’s good. Chris Haywood is good as his sidekick and has a few nice scenes. Bryan Brown shows up–a young Bryan Brown–and turns in some good work. The film’s also got a really good death scene in it.

I watched the recent Blue Underground DVD release and I can’t think of a better looking presentation of a 1970s film. Maybe the Australians just take better care than anyone else, but this transfer was wonderful. Blue Underground’s run by Bill Lustig, who produced for Anchor Bay back when Anchor Bay was really something. Newsfront is a beautiful disc.

1.5/4★½

CREDITS

Directed by Phillip Noyce; written by Noyce, David Elfick, Bob Ellis and Phillipe Mora; director of photography, Vincent Monton; edited by John Scott; music by William Motzing; production designer, Lissa Coote; produced by Elfick; released by Roadshow Entertainment.

Starring Bill Hunter (Len Maguire), Wendy Hughes (Amy Mackenzie), Gerard Kennedy (Frank Maguire), Chris Haywood (Chris Hewitt), John Ewart (Charlie), Don Crosby (A.G. Marwood), Angela Punch McGregor (Fay), John Clayton (Cliff), John Dease (Ken) and Bryan Brown (Geoff).


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