PLUGG (1975)

Title: PLUGG

Year of Release: 1975

Director: Terry Bourke

Genre: Comedy, Sex Comedy

Synopsis: Private investigator Horatio Plugg is on the trail of infamous escort Kelli Kelly of the Pussycat Escort Agency.

Within a film history context: Australian sex comedies began to appear on cinema screens from 1970. Due to the breakdown of Australian film censorship, and a relaxation of what content could appear on screen, sex comedies began to be made from 1970, beginning to largely peter out by 1975. The first of the genre, John B. Murray's THE NAKED BUNYIP (1970) was a semi-documentary about the sexual habits of Australians, with a young man interviewing various people about the topic. It is seen as being not only a milestone in Australian film censorship but also, inaugurated the sex comedy genre in the country. Next came STORK (1971), directed by Tim Burstall. The story of a young man, and his libidinous adventures resonated with the viewing public, as with THE NAKED BUNYIP, and was one of the most successful Australian films until that time. 1973 brought one of the most notable sex comedies produced in the genre, being Tim Burstall's ALVIN PURPLE (1973). As with STORK, it centred around a young man and his raunchy activities, but ALVIN PURPLE went much further in this department, with a preponderance of nudity, specifically female, and sexual situations. This film was an immense financial success of its time and led to a sequel in 1974, ALVIN RIDES AGAIN, and another in 1984, being MELVIN, SON OF ALVIN, although both were not as profitable as the original. 

THE BOX (1975), directed by Paul Eddey, was a comedy about the goings-on at a fictional television station, and contained a subplot about the entanglements of an ambitious, promiscuous starlet. David Baker's THE GREAT MACARTHY (1975) had an attractive football player whose romantic rendezvous with three different women were charted in this brassy production. THE LOVE EPIDEMIC (1975), directed by Brian Trenchard-Smith, as with THE NAKED BUNYIP, had a documentary leaning, but this time concerned with venereal disease, with some comic asides, and plenty of sex and nudity. Richard Franklin's THE TRUE STORY OF ESKIMO NELL (1975) was an Australian western comedy of a man in search of a woman on a postcard, the eponymous Eskimo Nell, whom he seeks for ultimate satisfaction, but the road to finding Nell is one filled with obstacles, both comic and dramatic. One of the most thoughtful of the Australian sex comedies, it has an undercurrent of sadness among the comic set pieces. PLUGG was at the tail-end of the sex comedy genre, being released in 1975, but was not one of the best of its type.

PLUGG had a male protagonist as its central character, in common with all the sex comedies, ranging from THE NAKED BUNYIP, STORK, ALVIN PURPLE, THE GREAT MACARTHY, and THE TRUE STORY OF ESKIMO NELL. It also shared the same male character type who becomes involved with an assortment of woman, many times in compromising positions. In addition, there is the investigative slant in PLUGG,  Plugg being a private investigator, which is also present in a different way in THE NAKED BUNYIP with its advertising employee, and his forays into sexuality. In terms of sexual content, PLUGG has the soft-core scenes which also marked ALVIN PURPLE and THE LOVE EPIDEMIC, but to a lesser extent than these examples. While all the movies, with the exception of STORK and THE GREAT MACARTHY, featured female frontal nudity, in PLUGG it is where this is taken to a more extreme level, as its advertising copy clearly indicates. The frequent nude glimpses of female flesh is the basis on which PLUGG rests, but it is at the expense of a coherent story, unlike ALVIN PURPLE, which had a story in between the nudity, and amorous couplings. 

PLUGG is also differentiated from the other movies in that its central male character was the most elusive of this set of films. Horatio Plugg hardly speaks, or elicits any sympathy from other characters in the story, even though one is given a clear picture of his life, which appears to be a lonely one. Ironically, this is the one aspect of PLUGG which is quite vivid, drawing a picture of him even though a consistent follow up is not there. Male characters in the other films, such as STORK, ALVIN PURPLE, THE TRUE STORY OF ESKIMO NELL, and THE GREAT MACARTHY could hardly be classified as being enigmatic, and this gives these particular movies punch which is missing from PLUGG's half-hearted depiction of its lead. The focus is supposed to be on its lead character, but PLUGG shifts the emphasis on its other male protagonists, who are given much more quality time in the movie. One of the most nonsensical of the Australian sex comedies, PLUGG stands out for, unfortunately, being a terribly convoluted movie.

Overview: Terry Bourke was an Australian director of seven feature films from 1968 to 1981. Mr Bourke's output was varied, with dramas, suspense, thrillers, and one comedy. His movie debut, SAMPAN (1968), was the story of a family in Hong Kong, and how a man with two sons finds himself in a predicament as one of them falls for his wife, being the son's stepmother. NOON SUNDAY (1970) was an action movie about two mercenaries hired to kill political leaders on the island of Guam. Terry Bourke's third feature, NIGHT OF FEAR (1972) was one of his best-known films. The tale of a psychotic man who pursues a woman was one of the first notable horror movies made in Australia, and an eerie viewing experience. He followed this with another horror movie, INN OF THE DAMNED (1975). Set in the late 1890s, a man comes to an inn to investigate the mysterious disappearances of people who visit this establishment. 

Mr Bourke next made LITTLE BOY LOST (1978) which is one of his most striking works. Based upon a true story, the movie detailed the disappearance of a young boy, and his eventual rescue. It was back to unconventional narratives for Terry Bourke with LADY STAY DEAD (1981), his final theatrical movie. Another take on homicidal maniacs from NIGHT OF FEAR, here a psychotic handyman kills a singer in her house, but is unaware that her sister will be coming, subsequently proving more than a match for him. PLUGG was Terry Bourke's fifth film, but definitely not one of his best.

With PLUGG, regrettably, Terry Bourke has made a movie that is at the nadir of his cinematic oeuvre. While his other films have the semblance of a coherent storyline, and a modicum of logic and suspense, this does not apply in the case of PLUGG. It is an uneasy mélange of comedy, sex comedy, slapstick, and soft core pornography to name but a few elements within PLUGG. While the sex comedy genre in itself, admittedly, does not lean to seriousness, with a nod to outrageous antics, in PLUGG there is little rhyme, or reason, for what takes place. It is as if permission has been granted to make a product that pushes the boundaries of acceptability, but only ends up frustrating the viewer with its inadequacies. There are a number of reasons why this is so.

First and foremost, PLUGG does not have a protagonist who inspires any sympathy, or interest in the viewer. While having a private investigator as the lead could have produced many funny moments in the movie, he is not given much mileage to make an impact. Horatio Plugg is seen gallivanting from one situation to the next, generally one naked woman to the other, which is more embarrassing than humorous or raunchy. In the case of a definitive lead character, the baton is passed onto Inspector Closer, who makes much more of an impression in PLUGG. Inspector Closer exhibits anger, apprehension, and humor among other emotions during his running around in the movie. This is the result of not only poor direction but also, a lack of focus in the movie. There is another feature of the movie which is particularly grating.

PLUGG markets itself as a film which is filled with nudity, specifically twenty-five naked female performers, as noted on the movie poster. This quickly becomes tiresome as the film unreels as it is obvious that it is just nudity for the sake of nudity, with a severe lack of motivation for this. By putting its eggs in one basket, PLUGG jumps on the bandwagon of permissiveness. It desperately tries to make a virtue of displaying naked female flesh, but it takes away from the comedy angle that the film also tries to push. PLUGG does have some entertaining scenes, such as the antics of Inspector Closer and Constable Hector, but these are few and far between. In addition, there is a great sequence where Kelli Kelly dances at the poolside to a Latin American song, but, unfortunately, this descends into a nude skinny dipping fest. For all its assertions about nudity, PLUGG does not have the courage of its convictions regarding male nudity. While there is a fleeting vision of male frontal nudity, the movie is bashful in this respect. Herein lies the paradox of PLUGG; a movie that prides itself on shows of nudity stops at male rear nudity. For the above reasons, PLUGG is a stunningly inadequate movie that is one of the lowest points of Australian, and world, cinema.

Acting: PLUGG is not a film where acting is high on its agenda, but, nevertheless, there are several contributions which merit recognition. As Inspector Closer, Norman Yemm delivers an enjoyable performance as the manly policeman. A virile actor who usually plays hardened, volatile men with volcanic tempers which can erupt at any moment, here he plays against type. He has the temperament, but also a subtle sense of humor which was not always on display in his other works. As his sidekick Constable Hector, the gregarious Reg Gorman showcases his trademark humor to great effect. Working well with Norman Yemm, Mr Gorman has some of the most humorous scenes in PLUGG. On the other hand, Peter Thompson as the eponymous inspector Plugg is not of the same calibre. This may not have been the actor's fault due to inept direction, but one never finds out enough about Plugg to make him a distinctive character. 

Cheryl Rixon, as the object of male desire, escort Kelli Kelly, succumbs to the same fate. While Miss Rixon appears to be a likeable actress, she is mainly used for her nudity, and one does not discover exactly why everyone is racing around for her attentions. One of the best performances in the movie is one which is very brief in tenure, but still makes an impact. As Mrs Hampton-Gregg, the woman witnessing the naked pool party in disgust, Margaret Ford brings her character's feelings to the surface, and makes this prissy lady humorous and likeable. She also takes maximum advantage of a British movie tradition whereby a character lambasts a lack of morality, but subsequently smiles in a knowing manner afterward, which ensures laughs from the audience.

Soundtrack: Bob Young's music for PLUGG is serviceable without being striking in any real way. 

Mise-en-scene: PLUGG is average overall in terms of its onscreen experience for viewers. The exterior locations especially give the work some credence, particularly the suburban setting where the pool party takes place, the marina where Kelli Kelly and her lover cavort on the boat, and Herman Cavanagh plays golf. The other settings are not the most eye-catching, such as Horatio Plugg's home and Inspector Closer's office, and appear to be symptomatic of low budget constraints on the production.

Notable Acting Performances: Norman Yemm, Reg Gorman, Margaret Ford.

Suitability for young viewers: No. Male nudity, female nudity, adult themes, sexual content.

Overall Grade: E

Link: IMDB Page