Tag Archives: Roadshow Entertainment

Mad Max (1979, George Miller)

While the low budget undoubtedly plays a hand in it, Mad Max is the epitome of narrative efficiency. It should have a big concept–a slightly post-apocalyptic future (but people still vacation and get ice cream and the beaches are nice) where the big cities are (probably) gone and the rural highways are run by gangs, the cops just another one of them–but it doesn’t. The script from James McCausland and director Miller spends no time on exposition… ever.

Instead, Max opens with a pursuit, quickly introduces the good guys, and moves on. McCausland and Miller’s narrative structure is very plain. Good guys Mel Gibson and Steve Bisley go after bad guys, things happen, then more things happen. The beauty of Max, besides David Eggby’s photography and Cliff Hayes and Tony Paterson’s astounding editing, is in the scenes. Even when they’re poorly acted (the main villain, Hugh Keays-Byrne, is laughably bad), Miller’s basing them on Western scene templates and they’re extremely engaging.

But the film’s not entirely Western–Brian May’s score is half Bernard Herrmann Hitchcock homage (to fit Miller’s similar style of certain scenes) and half sublime.

Playing the titular character, Gibson doesn’t even become the protagonist until over halfway through (Bisley’s closer to it in the first half). For a fast and cheap action picture, Miller’s telling a distressing, human story.

Nice supporting work from Joanne Samuel and Geoff Parry helps.

Max is sometimes excessive–not to mention homophobic–but never slow; it’s masterful work.

4/4★★★★

CREDITS

Directed by George Miller; screenplay by James McCausland and Miller, based on a story by Byron Kennedy and Miller; director of photography, David Eggby; edited by Cliff Hayes and Tony Paterson; music by Brian May; produced by Kennedy; released by Roadshow Entertainment.

Starring Mel Gibson (Max Rockatansky), Joanne Samuel (Jessie Rockatansky), Hugh Keays-Byrne (Toecutter), Steve Bisley (Jim Goose), Tim Burns (Johnny the Boy), Geoff Parry (Bubba Zanetti), Roger Ward (Fifi Macaffee), David Bracks (Mudguts), Bertrand Cadart (Clunk), Sheila Florance (May Swaisey) and Vincent Gil (The Nightrider).


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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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