THE COOLANGATTA GOLD (1984)

Title: THE COOLANGATTA GOLD (Alternate title: THE GOLD AND THE GLORY)

Year of Release: 1984

Director: Igor Auzins

Genre: Drama, Sport, Romance

Synopsis: Two brothers aim to compete in The Coolangatta Gold iron man race to appease their father, but he only supports the aspirations of his eldest son in this, causing a rift with his younger son.

Within a film history context: Films with a father-son conflict at their core have been in existence in cinema history since the sound era, with several notable examples. One of the first documented was F.W. Murnau's CITY GIRL (1930). In this movie, a woman marries a farmer, but has to face many difficult situations in her new life. Adding to her issues is the fact that her father-in-law refuses to accept her, this causing a wedge not only in her marriage but also, between father and son. With the exotic FIESTA (1947), directed by Richard Thorpe, a young man does not want to follow in his father's footsteps as a matador, this causing dissension between them, and complicating his sister's life in the process. Mervyn LeRoy's ANY NUMBER CAN PLAY (1949), featured Clark Gable as a casino proprietor whose activities impact not only upon his wife but also, his son, who disagrees with his father's business dealings. CONFIDENTIALLY CONNIE (1953), directed by Edward Buzzell, was of a more comic persuasion. It focused upon a college professor and his wife, and his father with whom he is at odds over the family ranch, where he does not wish to return. 

Edward Dmytryk's BROKEN LANCE (1954) followed a crusty ranch owner, and his four sons. Conflict emerges from how he treats the three older sons of his first marriage, and the very different, close relationship he shares with the youngest son from his second marriage. Western THE HALLIDAY BRAND (1957), directed by Joseph H. Lewis, concentrated upon the wrought relationship between a son and his father, who was an unorthodox sheriff who tried his best to control the lives of him and his siblings, his one son the only person able to take him on. An aristocratic take on matters was offered by Terence Young's MAYERLING (1968). An Austrian prince has a hostile relationship with his father, due in part to the patriarch's insistence on maintaining the status quo of the social order, his son holding more contemporary beliefs in 1880s Austria. Devious doings were the order of the day in THE HORROR OF FRANKENSTEIN (1970), directed by Jimmy Sangster. An utterly odious young man has a falling out with his father over his anatomy experiments, and subsequently kills him, continuing his mission to construct a body, which causes no end of grief. THE COOLANGATTA GOLD was a movie where the father-son conflict was one of the main drivers of action in the narrative.

The father-son difficulties were largely based upon the father's insecurities in THE COOLANGATTA GOLD, and how he came second in a surfing marathon in 1960. The father sees his younger son as the weak link in the family, as he is more motivated toward artistic pursuits such as being a rock band promoter, rather than an athlete. The son sees life in a less competitive manner, just wanting to do what he does, without the burden of being the best. He is constantly berated and belittled by the father, who sees the older son, and brother, as the child who will fulfill his dream of winning the surfing marathon. There are, in effect, elements of the stage father in this movie, which is far removed from the other portrayals, with fathers and sons not connecting for one reason or another.

FIESTA and CONFIDENTIALLY CONNIE had sons who did not want to continue in the life goals of their respective fathers, but THE COOLANGATTA GOLD stood out as the younger son actually wanted the love and esteem of his father, and tried to please him, but could not achieve this. The father could never see the younger son for who he was, and what he wanted out of life. In THE COOLANGATTA GOLD, it was always about what the father wanted for his sons, but not what they wanted for themselves. There was a tragic undertone to the movie where two family members could never see eye to eye, with feelings of resentment expertly depicted. It could be said that Steve in THE COOLANGATTA GOLD was similar to the son in THE HALLIDAY BRAND who tried to break away from his father's influence and carve his own identity. The use of the love interest in THE COOLANGATTA GOLD is also something which diverts from other movies with a father-son conflict.

In CITY GIRL, the father-in-law causes his new daughter-in-law many precarious moments, and, in turn, his son with the treatment of his wife. The wife in ANY NUMBER CAN PLAY is neglected by the husband for his work, and in MAYERLING, the prince has an affair with another woman to take his mind away from his loveless marriage. In THE COOLANGATTA GOLD, matters are much more subtle, and muted in tone. There is none of the melodrama which marked the other movies, but Steve and Kerri meld together in a natural way, real life and emotions making an impact on them. A backwards and forwards momentum marks their union, with Steve's personal, and professional difficulties highlighted, and Kerri's ballet obligations the issues. In addition, Steve's father views his attraction to Kerri as humorous, which is another deviation from the above movies, and view of male-female relationships, and prospective father-in-law. Steve's father does not even exchange a word with his son's love, even though he sees his son speaking with her on the beach, and at the hospital. For these reasons, offering a meaty view of father-son conflict, THE COOLANGATTA GOLD is one of the most extensive on the topic.

Overview: Igor Auzins is an Australian director who has helmed three motion pictures, being more active on television in episodic series, and telemovies. His first movie, HIGH ROLLING (1977), was a rollicking action film about the adventures of two carnival workers, with Joseph Bottoms in the lead role. Mr Auzins' second movie, WE OF THE NEVER NEVER (1982), was an historical story set in early 1900s Australia which had a warm critical reception at the time of its release. It also received a number of awards and nominations in various departments. THE COOLANGATTA GOLD was Igor Auzins' last movie, and one of his most-recognized cinematic efforts.

With THE COOLANGATTA GOLD, Igor Auzins has crafted a strong film which makes a definite impression on the emotions. Taking a deceptively simple narrative line by exploring a family, and how a father wants his eldest son to win an ironman race, effectively casting his younger son aside in the process, it keeps the spectator involved with the various viewpoints, and character desires and needs that are expressed. While there are some fiery moments, these are not forced, and come from the characters with a basis in honesty. The movie itself plays out in a naturalistic manner, eschewing obvious melodrama that can sometimes be jarring. This is one of the merits of THE COOLANGATTA GOLD, being that it is never over the top in its execution. Although the film has certain assets, it does, unfortunately, have downsides which take it down a few notches.

The first half of the movie does establish what is taking place, where, how, and why, but one wishes some sections could have been abbreviated. Several examples come to mind. The sequence where it is revealed that Steve aspires to be a rock band promoter, with the band playing a song in the background, while valuable as insight into his ambitions, is overlong. The song played also is not memorable in any way, especially when compared to a later song in the roof garden scene played by the band. The roof garden scene itself also takes too long to unravel, but the movie makes up for this with Adam's predicament, and the fallout from this. In addition, the later love scene between Steve and Kerri was a tacky 1980s segment that did absolutely nothing to further the story. As with the previously mentioned scenes, it was presumably included to be fashionable for its time, but all seem dated in retrospect. Thankfully, the second half of the movie picks up steam, and the various confrontations and character interactions are closer in proximity, making for a better film. The ending of the film is excellent, where all the pieces come together in a cohesive whole. In looking at the movie as a whole, certain things can be said about THE COOLANGATTA GOLD. It is a stirring film which deserves a higher reputation than what it has had in the past for the affecting experience it delivers to the viewer.

Acting: THE COOLANGATTA GOLD boasts fine performances from its cast which bolster its impact. In the lead role of Steve Lucas, a young man seeking to attain his father's love, but finding this an impossible task, Joss McWilliam is excellent. An actor for whom this was his debut role, he makes Steve a person of many edges, with passion, humor, anger, and sensitivity recalling the volatility James Dean displayed in his parts. As Joe, his father, and the thorn in Steve's side, Nick Tate shows why he is one of Australia's best actors. A performer adept at playing all sides of the emotional spectrum, his Joe could have been a caricature in other hands, but he manages to make him understandable and even sympathetic, despite Joe's treatment of his son. Colin Friels, as the favourite son of Joe, Adam, makes him a strong, but often silent figure in the movie. An actor who instinctively knows how to use his face and eyes, saying much in a non-verbal manner, Mr Friels is another attraction in the picture. His dance scene with Josephine Smulders' Kerri shows him an ace on the floor with his moves. Three other actors contribute great acting in the movie.

As Robyn, wife of Joe, and mother of Steve and Adam, Robyn Nevin is well-cast in a small role which she nevertheless makes the most of in the limited time she has onscreen. An actress who always brings conviction to her parts, making her characters believable to the core, she gives another viewpoint to the film, taking some attention away from the largely all-male perspective displayed. The ballerina who captures Steve's heart is given subtle treatment by Josephine Smulders. A ballerina in real-life for whom this was her only screen role, she is well-matched with Joss McWilliam, her serene and thoughtful nature a nice contrast to Steve's excitability and nerviness. The last actor of note in the film is Paul Starling as Steve's karate instructor. In real-life Mr Starling is a martial artist and karate master, and in the movie brings notes of authority and determination to his role as Steve's instructor, and closest confidant.

Soundtrack: What is most striking about musical accompaniment in THE COOLANGATTA GOLD is Bill Conti's rousing score. It is alternately quiet, passionate, spirited, and suits the story of people striving for the best they can achieve. Additionally, it provided the film with a sense of wonder and grandeur that the visuals many times lack, making up for this considerably. Aside from this, the movie has several rock and pop tunes which do not make an impression on the senses, the best of all these being 'Fraction Too Much Friction', performed by Wilbur Wilde. It functions not only in a pleasant manner, but also as a diegetic comment on the lives of its characters, particularly brothers Steve and Adam in this part of the movie. 

Mise-en-scene: What appears onscreen for viewers in THE COOLANAGATTA GOLD is one of its most problematic aspects. On the one hand, cinematography by Keith Wagstaff is crisp and clear, especially beautiful during the scenes on the beach such as the iron man race, taking advantage of the sun-drenched locations. On the other hand, the locations chosen for the movie, such as the Lucas family home and its surroundings, are unattractive, and do nothing for the film. It could be said that the family home is reflective of its characters, but visually is a liability. This, though, is symptomatic of many Australian films over the years, being how unappealing locations are spotlighted, possibly to create an image of realism, but they offer nothing but an eyesore to viewers. There is also the tendency to plunge the movie into darkness at times, such as the roof garden scene, the car park sequence, and, the private areas of the Lucas family home. Having more agreeable locales would have given the film a boost that the sets and places it utilized just do not possess. In the case of THE COOLANGATTA GOLD, these are not the best backdrop for its excellent cast, failing to serve them properly.

Notable Acting Performances: Joss McWilliam, Nick Tate, Colin Friels, Robyn Nevin, Josephine Smulders, Paul Starling.

Suitability for young viewers: Parental discretion advised. Infrequent coarse language, brief male nudity, brief female nudity, adult themes.

Overall Grade: B

Link: IMDB Page

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LITTLE FAUSS AND BIG HALSY (1970)

Title: LITTLE FAUSS AND BIG HALSY

Year of Release: 1970

Director: Sidney J. Furie

Genre: Action, Drama, Comedy

Synopsis: A professional motorcycle racer befriends an amateur racer in Arizona, and subsequently compete not only in business but also, in love.

Within a film history context: Movies with motorcycle racer protagonists, competing in professional races, sometimes appeared in cinema before 1970. This was in comparison to the many films which featured motorcycle racing characters who did this as a leisure pursuit, or in a rebellious vein. Bernard Vorhaus' MONEY FOR SPEED (1933) was about the world of speedway racing, concentrating upon the romantic pursuits of its leading men, along with their personal competitiveness. Comedy movie NO LIMIT (1935), directed by Monty Banks, followed a chimney sweep who longs to compete in a motorcycle racing event, and achieves this, but faces competition from other racers. Jack Lee's ONCE A JOLLY SWAGMAN (1949) focused upon a motorcycle racer whose professional life affects his relationship with his wife. In contrast THE PACE THAT THRILLS (1952), directed by Leon Barsha, emphasized a love triangle between two motorcycle racers, and a reporter who covers their exploits for a newspaper. LITTLE FAUSS AND BIG HALSY was a picture that closely followed the lives of motorcycle racers, something the other entries also did, but branched out into fresh territory with its content.

As with all the other films, LITTLE FAUSS AND BIG HALSY had plenty of motorcycle action, something which added excitement and life to the narrative, and visual appeal for the viewer. The difference with LITTLE FAUSS AND BIG HALSY was the shooting of the movie in a rugged landscape. It was unlike NO LIMIT, and THE PACE THAT THRILLS, which had extensive outdoor shooting, but whose locations were of a more conventional nature. ONCE A JOLLY SWAGMAN differed again as much of the motorcycle sequences were based inside a racetrack setting. With LITTLE FAUSS AND BIG HALSY, the outdoor motorcycle segments took on a life of their own for their sheer authenticity. The dustiness of the long country roads, the sun beating down on those below, both participants and spectators, gave the impression of beautiful, but torturous terrain. This was a subtle metaphor for the difficulties of being a member of the motorcycle racing/dirt bike racing sport that the movie examined. Other features of LITTLE FAUSS AND BIG HALSY provided divergence from the other motorcycle racing films.

NO LIMIT'S slight romantic arc was not as pronounced as the following three examples. MONEY FOR SPEED, ONCE A JOLLY SWAGMAN, and THE PACE THAT THRILLS, on the other hand, had a predominant romance angle which dominated the movie. The first film had two men competing both personally, and in a professional sense. The second had more domestic leanings, with a racer's marriage impacted by his occupation. The third had a love triangle between two men, and a woman. LITTLE FAUSS AND BIG HALSY, in comparison, veered away from these scenarios. The rivalry between two men in both sport, and love was the spotlight, but was looser in the execution of its plotting, preferring a freeform structure. Neither Little Fauss, nor Big Halsy end up in a happy union with a woman, which was in opposition to NO LIMIT, MONEY FOR SPEED, ONCE A JOLLY SWAGMAN, or THE PACE THAT THRILLS. No stable male-female relationships eventuate, instead, a series of flings take place. Aside from this, LITTLE FAUSS AND BIG HALSY was made in 1970, and a relaxation in film censorship allowed for more openness in sexual content, and nudity, which the previous films, made in the 1930s, 1940s, and 1950s, could not depict. This had the effect of making the movie more liberal than its counterparts in terms of what appeared on the screen. A sojourn into the lives of motorcycle racers, LITTLE FAUSS AND BIG HALSY is an enjoyable film.

Overview: Sidney J. Furie is a prolific filmmaker who, over the course of his sixty-five year career, has directed forty-six feature films. Mr Furie is a generalist who has made movies in a number of genres, from crime, action, adventure, comedy to romance. His first film, A DANGEROUS AGE (1957) was a romance which charted the obstacles two young people faced in becoming a couple. Into the 1960s, he made THE BOYS (1962). A drama set in 1960s London, it followed the exploits of four teenagers involved in crime, a theme which Mr Furie explored on various occasions in his career. His next notable film was THE LEATHER BOYS (1964). This was the story of a young woman who marries a biker, thus explaining the leather of the title, and how his relationship with his friend impacts on the marriage. Starring a largely British cast, it was another step forward for Mr Furie in making daring movies. 1965 brought THE IPCRESS FILE to audiences. A thriller of espionage and double-cross, again with a British cast including Michael Caine and Gordon Jackson, it is noteworthy as a predecessor for the theme Mr Furie would later investigate in HIT! As a change of pace, Sidney Furie then tackled the action-romance genre in THE APPALOOSA (1966). Starring Marlon Brando, it focused upon a man's quest to take back his horse which has been appropriated by a Mexican man. The 1970s was a time of growth for Mr Furie, when he would make films about copious themes.

With the inception of the 1970s, Sidney Furie released THE LAWYER (1970). It followed a lawyer who becomes involved in a murder case, something different for the director. Mr Furie then filmed the biography of singer Billie Holliday, LADY SINGS THE BLUES (1972). With Diana Ross as Miss Holliday, it was one of his most famous, well-remembered movies, with memorable musical trimmings. HIT! (1973) was the story of a federal agent seeking to take down drug traffickers after the death of his daughter from an overdose. The remainder of the 1970s featured various types of movies in Mr Furie's oeuvre. SHEILA LEVINE IS DEAD AND LIVING IN NEW YORK (1975) gave Sidney Furie the opportunity to display his aptitude for comedy. In this movie, a young woman moves to New York City and finds love. Mr Furie again tackled a biographical film, GABLE AND LOMBARD (1976). The story of Clark Gable and his ill-fated wife Carole Lombard, it was a movie of a more romantic nature than usual, but critically derided upon release. Sidney Furie looked at Vietnam with THE BOYS IN COMPANY C (1977). A film with much profanity, it provided its cast with a realistic story about a boot camp that turns into a nightmare once the soldiers arrive in Vietnam. 

In the 1980s Mr Furie's movies were not as prominent as his 1970s pictures. After uncredited direction on two movies, he made THE ENTITY (1982). A horror film about a woman who is menaced by a demon she cannot see but of which she can definitely feel the presence, it was the first time he had made a horror genre entry. With PURPLE HEARTS (1984), Mr Furie revisited Vietnam, this time charting the love story of a doctor and a nurse. The remainder of the decade was devoted to two instalments of the IRON EAGLE franchise in 1986 and 1988 respectively, and, in 1987, a film in the Superman franchise, SUPERMAN IV: THE QUEST FOR PEACE. His films in the 1990s until the present are a mixture of his previous movies, mainly action movies, thrillers, war, and comedy.  Looking overall at the sheer scope of his works, LITTLE FAUSS AND BIG HALSY was one of Sidney Furie's lighter, but still satisfactory films.

With LITTLE FAUSS AND BIG HALSY, Sidney Furie has fashioned a diverting, fast-moving movie. It is the character study of Halsy Knox, a motorcycle racer, his friend Little Fauss, and various other uninhibited personalities they encounter along their journey together. The film depicts the rootless life of its central protagonist with vigor, showcasing him in different situations which ably express his nonconformist attitudes toward life and, in particular, his amorous entanglements with the opposite sex. It contrasts Halsy's swagger, and good looks to Fauss' less confident disposition, and lack of physical attractiveness. Aside from the central pair, the film also delineates their lives through their relationships with others, which give both Halsy and Little Fauss depth. The women they meet and are involved with, such as Rita and, in particular, Fauss' parents, also reveal other sides to these two characters. While LITTLE FAUSS AND BIG HALSY has some positive traits, there are a number of striking flaws evident when the movie is considered as a whole.

Admittedly, the freewheeling nature of the movie is something which gives it a certain offbeat appeal, but, unfortunately, this has been transferred to the film, causing it to lack continuity in certain departments. It would have been helpful if there was more of a backstory for Halsy, to explain why he acted the way he did. This is also applicable to Fauss, even though his parents appear, which is one of the movie's best aspects. In addition, the treatment of women in the film is lamentable, as they are largely painted as floozies with a body, and without psychological complexity. Rita, for example, seems to serve a purpose for a spell, but then is gone. In an attempt to maintain an organizing structure in the movie, it is admirable that the focus is contained to both Halsy and Fauss, but this is often to the detriment of peripheral characters. The major case of this is the death of Fauss' father, which is something that should have been given greater weight, but which is glossed over. 

Other omissions do hinder the tapestry of LITTLE FAUSS AND BIG HALSY. The movie, overall, does have issues with making events moving to the audience, with the effect that the picture is often apathetic toward depicting real emotions. The film's tendency to jump from one situation to another may seem fashionable, but leaves spectators with a feeling that something is lacking to make things compelling. If there were more highly charged moments of anger and sadness these would have made all the difference. It would have balanced the hijinks and frivolity, thus giving these a better place in the story. All in all, though, certain things can be said about LITTLE FAUSS AND BIG HALSY, despite its shortcomings. It is a likeable movie that tried to be in the here and now, but missed out on involving its audience in a more riveting manner. 

Acting: Several performances stand out in LITTLE FAUSS AND BIG HALSY for their authenticity. As Halsy Knox, the hard living, womanizing half of the eponymous duo, Robert Redford contributes yet another thoughtful screen interpretation. An actor with an air of profundity and ease, he makes his rogue someone very difficult to dislike, despite the character's behaviour and actions. The other half of this twosome is Little Fauss, played by Michael Pollard. A character actor whose soft voice and seemingly diffident manner made him perfect for roles in action or rural themed movies, he makes Little Fauss one more of his unique parts. As a side note what is also interesting about the movie is how there is no real chemistry between Halsy and Little Fauss. While they are distinctive as individual characters, as a combination the fire that should have been there is nowhere to be seen.

The main female character is not the most memorable in the movie for certain reasons. Unfortunately, the film is not a proper showcase for Lauren Hutton as Rita Nebraska, Halsy's lover. An actress whose smoky voice and demeanor is more befitted to films with glamorous locales and parts as sophisticated women, here she is not allowed to display her talent in a largely thankless role. On the other hand, Noah Beery Jr. and Lucille Benson as Seally Fauss and Mom Fauss, Little Fauss' parents, are captivating. Like two peas in a pod, these character actors give the movie an undertone of subtle humor, of people who have seen the best, and worst in life, and beautifully round out the acting in LITTLE FAUSS AND BIG HALSY.

Soundtrack: There are a number of tunes featured in LITTLE FAUSS AND BIG HALSY, but the most prominent is Johnny Cash's 'Ballad of Little Fauss and Big Halsy'. It is played at both the beginning, and end of the movie, similar to many 1970s films, and supplies an appropriate non-diegetic commentary on the characters, and their picaresque lives.

Mise-en-scene: What appears in front of the camera has been carefully considered in LITTLE FAUSS AND BIG HALSY. Cinematographer Ralph Woolsey photographs the movie in his usual effective way, in this case, making the harsh Arizona landscapes take on an unexpected beauty of their own. Locations are also well-selected, giving the impression of people living difficult lives but also, enjoying these at the same time. The motorcycle racing sequences are all exciting to watch, never giving the impression of artificiality, but of immediacy.

Notable Acting Performances: Robert Redford, Michael Pollard, Noah Beery Jr., Lucille Benson.

Suitability for young viewers: No. Infrequent coarse language, female nudity, adult themes.

Overall Grade: C

Link: IMDB Page

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