Tag Archives: Phillip Noyce

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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Nightshift (1985, Phillip Noyce)

The big problem with Nightshift, an episode of “The Hitchhiker,” is how William Darrid’s teleplay handles the protagonist. Margot Kidder plays a retirement home nurse who preys on her charges–little mean stuff, stealing their jewelry. The script isn’t playful with its presentation of Kidder. If Darrid had made her true nature a reveal instead of setting it up in the ground situation, for example.

It makes Kidder a weak protagonist, letting Stephen McHattie (as her scummy boyfriend) take over the episode when he’s in it. But he’s not in it very much, just a lengthy middle sequence. Then it goes back to Kidder, but she’s even more ineffectual now.

Director Noyce is trying to play with the constrained environment, but it doesn’t come off. There’s some good editing from Stan Cole.

Nightshift could have been a lot better, but Darrid didn’t give Kidder a believable enough character. It’s unfortunate.

1/3Not Recommended

CREDITS

Directed by Phillip Noyce; teleplay by William Darrid, based on a story by April Campbell Jones and Bruce Jones; “The Hitchhiker” created by Riff Markowitz, Lewis Chesler and Richard Rothstein; director of photography, Reginald H. Morris; edited by Stan Cole; music by Michel Rubini; production designer, Richard Wilcox; produced by Markowitz and Chesler; released by Home Box Office.

Starring Margot Kidder (Jane Reynolds), Stephen McHattie (Johnny), Dorothy Davies (Mrs. Cranshaw), Enid Saunders (Mrs. MacDonald), Kenneth Gordon (Mr. Loring) and Darren McGavin (The Old Man).


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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 wasn’t much potential to Newsfront, so it’s hard to get too angry and the film 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).