PAYDAY was a downbeat, excellent character study of a down and out country music singer filled with thoughtful performances. As Rosamond, one of the young women taken along for a tumultuous ride by country singer Maury Dann, the role was played with breathtaking precision by Elayne Heilveil.
A performer who had acted in only two movies in her career, one of these being PAYDAY, but much more on television in prime time drama series such as Family, The Waltons and The Rockford Files, her contribution to the movie is one of its most memorable aspects.
Miss Heilveil takes her groupie character and makes her someone with whom the audience can empathize. Her initial delight in being chosen by Maury Dann as his main squeeze gives way to a sense of trepidation at what is taking place to Maury, and consequently to herself.
Her feelings are written all over her face and in her voice, and Elayne Heilveil makes Rosamond a fascinating figure indeed, one of the best female acting performances of 1970s cinema.
Today I have the immense pleasure of welcoming a very special guest, actor Joss McWilliam, to CINEMATIC REVELATIONS for an interview. Joss has acted in several motion pictures over the years such as THE EMPTY BEACH, THE COOLANGATTA GOLD [my review of the film can be found here] THE SUICIDE THEORY, and MAGDALA ROSE. In this interview Joss will be discussing his part in THE COOLANGATTA GOLD, acting, television, and role as an acting coach.
Welcome to CINEMATIC REVELATIONS Joss!
Athan: When did you first realize that you wanted to be an actor?
Joss: Thanks Athan. I did a bit of acting at school in a number of plays and quite liked it. Then bits and pieces at university. I tried out for NIDA in 1979 and could have got in, but for an all-night drinking session the night before my final audition. I was pretty young and wild and frankly not committed to the idea yet. I travelled overseas and saw some amazing theatre in Stratford and London. During a performance of Duet for One, starring Frances De La Tour, I was so enraged with the actor playing opposite her that I began to stand, to argue with him. Quickly sitting, I couldn’t believe that I had fallen for an imaginary situation. Mind you, it was great acting. That night, I decided that that was what I wanted to do.
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Athan: Where did you study acting?
Joss: On my return to Australia in 1981, I tried out for NIDA and didn’t last the morning. I then spent two weeks at the Ensemble but did not like it at all, so I dropped out and ended up studying privately with an actor called Brian Syron. This was two nights a week in Woollahra. He had studied with Stella Adler so it was in that tradition. When I started working, I feel like I threw a lot of what he taught me away, but at least he taught me to think like an actor. I feel like most of what I have learned has been on the job and I have had the good fortune to work with and learn from some extraordinary actors and directors.
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Athan: Your performance as Steve in THE COOLANGATTA GOLD was the linchpin for all the action in the movie, a young man of many shades, and moods, who was psychologically complex, and thoroughly compelling. What it is that drew you to the part of Steve?
Joss: In my second year with Bryan, I was spotted by Rae Davidson, a casting director at Forcast and asked to audition for The Coolangatta Gold. It was simply a chance to start climbing the greasy pole, an opportunity to start working. After I landed the job, I suppose I found parallels between the character and myself and drew on them for the role. I have always joked that I started at the top and have been working my way down ever since.
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Athan: THE COOLANGATTA GOLD had a prolific cast with yourself, Nick Tate, Robyn Nevin, and Colin Friels as the movie’s central focus, the Lucas family. What was it like working with these performers?
Joss: I had a wonderful time working with Colin and I had the sense he was looking after me. Instinctively, I was drawn to his personality and way of working. There are things that we joked about on that set that still amuse me now. He once gave me Hamlet’s speech to the players at the back of a Grips truck. The perfect acting lesson. I still think of him as my acting brother. Nick was fine, but from a different acting school than the one I was interested in and Robyn, for whatever reason, didn’t speak to me once for the two weeks we were on set. Go figure.
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Athan: THE COOLANGATTA GOLD was about an iron man endurance marathon, with many scenes of training, and the eponymous marathon race itself depicted in the movie. In preparation for the film, did you undertake a training regime, and what was your experience of this?
Joss: When I got the role, I wasn’t that fit, so I spent the next 3-6 months preparing. The week consisted of running many kilometres every second morning alternating with weight sessions on alternate days with the Manly Sea Eagles conditioner. I would swim 50 laps every second day and learn to surf ski on the alternate days. Then every evening I would learn Karate with Paul Starling for two hours. Exhausting. It was difficult at first, but I learned the transformative power of hard exercise and I became incredibly fit.
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Athan: In THE COOLANGATTA GOLD, Steve also attends karate classes, under the instructor of real-life karate master Paul Starling, who played his close friend and confidant. Did you also train in martial arts specifically for the movie, or was this something of which you had prior experience?
Joss: I trained with Paul in Sydney, specifically for the movie. I had no prior experience and since the film have never used those skills again.
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Athan: THE COOLANGATTA GOLD was directed by Igor Auzins, who also helmed the motion pictures HIGH ROLLING IN A RED CORVETTE, and WE OF THE NEVER NEVER. What was it like being directed by Mr Auzins in THE COOLANGATTA GOLD?
Joss: The Coolangatta Gold was my first job and I honestly expected to get more direction than what I got. I have since discovered that most directors just expect you to know what you’re doing. The best directors are collaborative and will work with you to improve performance.
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Athan: Aside from your film work you have appeared in many Australian television shows over the years, from series such as Winners, The Flying Doctors, The Adventures of Skippy, and more recently in The Strip, and Home and Away. From your perspective, what are some of the most striking differences between film, and television production?
Joss: Both film and television at their best re all about storytelling. The most striking difference is the time given to tell the story. You have more time on a film set and there is more care taken on the shot and the content. Quality television is like film these days anyway.
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Athan: You have been an acting coach for over a decade at Angel Studios, which is a professional recording studio in Brisbane, Queensland. What it is that led you to this, and what provides the most satisfaction in seeing students thrive in their aspirations?
Joss: I have been teaching off and on for twenty years. Because acting is a precarious profession financially, I’m sure I took it up to make extra money. There is something satisfying in seeing students grasp the idea that you are trying to get across. I enjoy watching their confidence grow and it is extremely satisfying to see some, as I did, go on to have professional careers. As I was taught, so have I gone on to teach.
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Athan: Do you have any upcoming projects of which you would like to tell readers?
Joss: I did a fantastic show last year called Boy Swallows Universe. There is a chance that it may tour next year nationally. Other than that, I have nothing coming up. This may change overnight, but if it doesn’t and I never worked again, I have no regrets. It is 40 years since I auditioned for The Coolangatta Gold and I have worked on many great projects since then with some wonderful people and have travelled all over Australia.
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Thank you so much for your time today Joss, and for the insight you have provided into the art of acting, THE COOLANGATTA GOLD, cinema, television, and acting coaching. It has been wonderful having you on CINEMATIC REVELATIONS. You are welcome to return whenever you wish.
Synopsis: College student Elgin Smith falls for fellow student Caroline upon seeing her one day in a restaurant, but the road to first love is paved with many obstacles.
Within a film history context: Movies which revolve around a soccer player protagonist have not been a common presence on American screens before FIRST LOVE in 1977. These pictures, though, appeared sporadically in mainly European films from the 1930s onwards. One of the first was Thorold Dickinson's British THE ARSENAL STADIUM MYSTERY (1939). In this movie, a soccer player is murdered, with his sporting teammates and girlfriend suspected of the crime. With the Russian TSENTR NAPADENIYA [CENTER FORWARD] (1947), directed by Semyon Derevyansky and Igor Zemgano, a soccer player's lives, both personal and professional, are depicted, particularly his relationship with his girlfriend. Kresimir Golik's Croatian film PLAVI 9 [THE BLUE 9] (1950) was about an egotistical soccer player who has a way with the ladies, but pursues a young woman, whose heart belongs to another. With the Italian GLI EROI DELLA DOMENICA [SUNDAY HEROES] (1952), directed by Mario Camerini, a soccer player indulges in suspect behaviour with his lover that may work against him in the end. Zoltan Fabri's Hungarian drama TWO HALF TIMES IN HELL (1961), was based upon a real-life incident, being a soccer match held between German, and Soviet soldiers during World War II.
Argentinian THAT FORWARD CENTER DIES AT DAWN (1961), directed by Rene Mugica, centered upon a talented soccer player whose transfer is purchased by a wealthy man, but their partnership ends in tragedy. Lighter in tone was Manuel Munoz and Alberto Mariscal's Mexican LAS CHIVAS RAYADAS (1964). Here, a young man aspires to play for a soccer team, while his siblings have other sporting ambitions. In contrast, intrigue was at the core of Polish film SWIETA WOJNA (1965), directed by Julian Dziedzina. Two soccer fans scheme to kidnap a player from their opposition team to skew the game in this comedy. Comedy was instead on the agenda in Kostas Karagiannis' Greek movie YVES! YVES! (1972). Members of an opposing soccer team scheme to derail a successful soccer player through the attentions of a woman, which works in the short term, but events conspire for the truth to emerge. FIRST LOVE differed from the above movies about soccer players for a number of important reasons.
As with entries such as CENTER FORWARD, THE BLUE 9, SUNDAY HEROES, THAT FORWARD CENTER DIES AT DAWN, LAS CHIVAS, and YVES! YVES!, FIRST LOVE focuses specifically upon a male character who is a soccer player. There is also the depiction of the character's romantic pursuits in addition to his professional life. In comparison to the other entries, though, FIRST LOVE does not an overriding soccer background. Elgin is a college soccer player whose main occupation is his studies, and, secondarily, his job as a waiter in the campus café. The soccer theme takes up a much smaller part of FIRST LOVE, with Elgin's personal life spotlighted instead. There are several scenes where Elgin either plays soccer in a match, or practices on his own, but they are the exception here rather than the rule. It could be said, though, that there is a nice contrast implied between Elgin's personal life, and its uneven manner, with his greater success on the soccer field. Other aspects of FIRST LOVE also differentiate it from others in the genre.
FIEST LOVE lacks the comedy aspects which were present in YVES! YVES!, but concentrates more on the intimate amorous, and sexual life of Elgin. This is the predominant area where FIRST LOVE runs counter to all the other movies, although CENTER FORWARD and THE BLUE 9 do look at the personal lives of their main soccer player in some detail. FIRST LOVE also diverts in the area of plot, which marked pictures such as THE ARSENAL STADIUM MYSTERY, SUNDAY HEROES, and THAT FORWARD CENTER DIED AT DAWN. There is a lack of suspense in FIRST LOVE, instead a leisurely sojourn into Elgin's comings and goings. No red herrings or twists and turns, but a more character-driven view of the life of a soccer player. One of the most measured, direct films revolving around a soccer player, FIRST LOVE distinguishes itself with its down-to-earth presentation and execution.
Overview: Joan Darling has been an actress and director on many television series over the years, with several film acting credits. Miss Darling directed two motion pictures in her career, with THE CHECK IS IN THE MAIL (1986) her second movie. A man decides upon a life change by living off the grid, under difficult conditions, but finds his life is anything but idyllic in its new incarnation. With a cast including Brian Dennehy in the lead, and support from Anne Archer as his wife, it has sunk into oblivion. FIRST LOVE, though, was Joan Darling's first picture as a director, and her best-known film.
With FIRST LOVE, Joan Darling made an interesting directorial debut. The tale of an idealistic college student seeking Miss Right, falling deeply in love with a young woman, but finding things are more complicated than first thought, is handled nicely by the director. The movie has a pensive tone, and graceful pace, which provides it with a warmth, and a lyrical feel. The storyline is fluid in its execution, reflecting life itself, with different characters moving in, and out of the narrative with assurance. There is an intimacy about this film, and how it manages to get to the heart of its characters' innermost thoughts and feelings. It views its characters with sympathy, and this allows the audience to judge them as real people, despite their many flaws. For a film that tackles the topic of love, it does not have a mushiness about it, but is more adult in nature than most. There is talk of poetry and literature which is in keeping with the movie's academic setting, and this suits the material. While this is all admirable to witness, the movie does have a number of shortcomings which hamper the overall impact the director has attempted to achieve.
Weaving characters in and out of the specific stories gives a naturalness to the proceedings, but sometimes, there is a wish that deeper knowledge of events would have been beneficial overall. This would have made characters even more three-dimensional than they already are. Caroline is a prime example of this. An interesting, complex character, and pivotal in the life of Elgin, her personal life has been glossed over in FIRST LOVE. There was some mention of her father, and his emotional problems, which seemed to influence her view on life, and men, but this was not explored in enough detail. More attention in the movie has been given to the various love scenes than getting into the mind of Caroline, which is dispiriting. Shelley suffers a similar fate here. She is a truckload of insecurities and neuroses that the movie hints at, but we only partially see these, even though the presentation of these is of a high standard. It seems as if Shelley is more about getting Elgin into bed, when things are much deeper than this. In addition, David and Shelley are not seen together as a couple which would have been a nice contrast to Elgin and Caroline. This would have imbued the movie with more balance, and something to bounce off. Despite these weaknesses, FIRST LOVE is a passable motion picture which deserves to be seen, and notable as a movie by a female director in 1970s Hollywood.
Acting: Five performers in FIRST LOVE are notable for their contributions to the movie. William Katt is perfect as Elgin, the film's lead character. His sheer belief in the material, creating a character who he transforms into a real person onscreen, Mr Katt's presence is the key to why the picture remains watchable despite some lulls. As Caroline, the young woman who captures Elgin's attention, Susan Dey makes what could have been a one-note, overly fey character into someone likable, with a shattering psychological makeup that makes Caroline a complex figure indeed. The needy and lovable Shelley has been given an expert interpretation by Beverly D'Angelo. An actress with a penchant for comedy, this is in evidence here, but with a dramatic backbone, giving Shelley an undertone of sadness. Shelley's other half is in the person of John Heard as David. As with Miss D'Angelo, Mr Heard has a way with comedy, and it is disappointing that they are not used together sufficiently. Another actor with a zany way of doing things is Tom Lacy as college Professor Oxtan. While his character has a small part in the movie, Mr Lacy is remembered for his subtle comic reactions to situations, such as when Elgin fails to serve him his coffee, which is priceless to witness.
Soundtrack: FIRST LOVE has a spare but effective soundtrack which exemplifies the thoughtful tone the movie does so well. Most prominent are Paul Williams' dreamy, ethereal song 'That's Enough for Me' which is played during the train scene with Elgin and Caroline, and Cat Stevens' 'Child For A Day'. The latter is employed both during the opening, and closing credits, something in common with many 1970s pictures, in seeking to display the change of events, and character knowledge, from the movie's beginning, to end.
Mise-en-scene: A number of elements have been successfully fused to create the lush aura which permeates FIRST LOVE. Cinematography by Bobby Byrne bathes the movie in a relaxing glow with his work here. Exteriors in particular are noteworthy, with the soccer field on which Elgin plays, the outside of the college, and the leafy areas where Elgin and Caroline meet all beautifully captured. Costuming by Donfeld is in keeping with the subtle tone of the movie, the cast all dressed in an elegant, low-key manner. The jackets and coats worn by Susan Dey are chic, indicating her high socio-economic standing in a stylish manner. Production design by Robert Luthardt is excellent, giving both a realism, and warmth, to areas such as the cafe where Elgin works, Caroline's family home, and Elgin's dormitory room, to name a few examples.
Notable Acting Performances: William Katt, Susan Dey, Beverly D'Angelo, John Heard. Tom Lacy.
Suitability for young viewers: No. Infrequent coarse language, male nudity, female nudity, adult themes.
Synopsis: An unconventional friendship is forged between two men, Dead Eye Dick and Mexico Pete, after Dick saves Pete from a precarious situation one evening.
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. The 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.
1975 was notable as a year in which several Australian sex comedies were released, but the impact of earlier productions was not obvious in their box office takings, which were disappointing. 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. Terry Bourke's PLUGG (1975) was an abysmal sex comedy of a private detective on the trail of an elusive female escort, with others also hot on her trail. It was, unfortunately, the lesser of all the Australian sex comedies. In comparison, THE TRUE STORY OF ESKIMO NELL was also released in 1975 at the end of the Australian sex comedy cycle, and is the best of all the movies in the genre.
The movie does have that nonsensical approach to its narrative, and emphasis on sexual matters which marked entries such as ALVIN PURPLE, THE LOVE EPIDEMIC, PLUGG, THE NAKED BUNYIP and, to a lesser extent, THE GREAT MACARTHY. There are depictions of sex and nudity which also definitely earned the first three examples, as well as THE TRUE STORY OF ESKIMO NELL, their 'R' rating restricted certificates, making these films only accessible to adults in the cinema. THE TRUE STORY OF ESKIMO NELL, though, moved away from these in one main manner. While there was a small degree of pathos present in STORK and ALVIN PURPLE, in THE TRUE STORY OF ESKIMO NELL it beautifully infused the picture with its unique tone. Instead of sexuality being a means to an end in the movie, as it was, for example, in ALVIN PURPLE, with a male character sowing his oats, Dead Eye Dick in THE TRUE STORY OF ESKIMO NELL was searching for something of a more spiritual, otherworldly plane. It was not just about the sex here, but about the journey. He does save himself for someone, and something which was utterly contrary in reality to what it was in mythology, and this gave the film its sweet, sad, and emotional feel. In addition to this, there is another feature of THE TRUE STORY OF ESKIMO NELL which separates it from the others in the genre.
The other movies generally concentrated upon a single male character, following his life and, especially, various adventures and dalliances with women. This was a key tenet of STORK, ALVIN PURPLE, THE GREAT MACARTHY, and PLUGG. With THE TRUE STORY OF ESKIMO NELL, it moves away from this single character structure. There are contrasts drawn between the two male characters, being Dead Eye Dick, and Mexico Pete in THE TRUE STORY OF ESKIMO NELL. The former is the unconfident male protagonist, uncomfortable around women, the latter his polar opposite, who had a definite way with the ladies. The path to which Dick and Pete become best friends is one of the most charming aspects of the film. Women notwithstanding, their friendship deepens, and here this male-male friendship blossoms, and finds its zenith at the conclusion of the picture. In effect, THE TRUE STORY OF ESKIMO NELL is a bromance film, moving away from just being about men and their sexual desires, to something more substantial. A great movie with a definite raison d'etre, THE TRUE STORY OF ESKIMO NELL is not only entertaining but also, offers food for thought about male-male friendships, and humanity itself.
Overview: Richard Franklin was an Australian director who made eleven films between 1975 and 2003. Over this twenty-eight-year period he tackled genres such as comedy, sex comedy, horror, and action. His second movie, the softcore FANTASM (1976) was an anthology picture dealing with female sexual desire, presenting these in a no holds barred fashion, with many American pornographic models acting in these segments. It was strung together with a faux psychiatrist introducing these, but the film itself was a success at the Australian box office. Next came horror film PATRICK (1978), a definite change of pace for the director. A murderous comatose patient causes no end of grief in a hospital in a bid to keep his private nurse with him. More horror was on view in ROADGAMES (1981). A truck driver begins to believe that a man is murdering young hitchhikers, enlisting the assistance of a young woman to find the killer. In 1983 one of his best-known films was released, being PSYCHO II (1983). The continuation of the story of creepy Norman Bates, proprietor of the Bates Motel, it was one of Mr Franklin's most commercially successful movies, grossing a healthy profit. Another horror film, LINK (1986), had a zoology student becoming involved in experiments with chimpanzees, the animals turning against her in a dramatic manner.
More American films followed for Richard Franklin. Action was the main attraction in F/X2 (1991). A special effects man becomes involved in intrigue and murder, specifically to find a killer in this action movie. Richard Franklin returned to more character-driven material with HOTEL SORRENTO (1995). In this picture, a woman returns to her hometown, and after enjoying the success of her novel, this causes problems as the fiction in this case may be based more in fact than first meets the eye. Mr Franklin's penultimate film was BRILLIANT LIES (1996). Sexual harassment was the focus here, with a woman taking her former employer to court for goading her to have sex with him. Richard Franklin's final cinematic outing, VISITORS (2003), was another foray into horror for the director. This film looked at a young woman who sailed on her own around the world, and charted her crumbling mental state. THE TRUE STORY OF ESKIMO NELL marked Richard Franklin's film debut, and was one of his most original works.
With THE TRUE STORY OF ESKIMO NELL, Richard Franklin has made a striking motion picture which rings true in every way. Taking the story of an unlikely friendship between two very contrasting men, Dead Eye Dick and Mexico Pete, the film depicts their bond, from Mexico Pete's initial misgivings about Dick, their developing camaraderie, to events which cement their union. It is a movie which slowly unravels in an entertaining, but also, heartfelt style, making one care about the characters, and what happens to them. The film, admittedly, does have a preoccupation with sexual matters, but these come from the characters, and are not forced. The sexuality, nudity, and language are surface aspects which give way to deeper ponderings, and explorations of male-female, and male-male relationships. It may seem to be a film that is light on first impression, but this is dispelled when it is looked at in more detail.
The movie does posit overwhelming support for male-male friendships within its context, and how women sometimes can be expendable in this respect. To maintain balance the film, though, does contain a scene where Dick and prostitute Ellie do relate on a more profound emotional level as a man and a woman. The variety of elements in the film, though, makes one definite statement about THE TRUE STORY OF ESKIMO NELL. Although the movie is at heart a western with comedy asides, it does have a little of everything, but never becomes overloaded. Comedy, drama, male wish fulfilment, fantasy, tragedy, for example, all receive an airing in THE TRUE STORY OF ESKIMO NELL. Richard Franklin succeeds in keeping everything on an even keel, and when one thinks the movie will go overboard, he pulls back, surprising the audience in the process. One of the most imaginative Australian movies ever, THE TRUE STORY OF ESKIMO NELL deserves a higher critical reception than what it has previously received, and for its director.
Acting: THE TRUE STORY OF ESKIMO NELL benefits from its two main performances, and two supporting contributions. In the lead role of Dead Eye Dick, Max Gillies is excellent. An actor renowned for his impersonations of various real-life figures, here he makes his character not only humorous but also sympathetic, warm, and thoroughly relatable. As his best friend, and cohort Mexico Pete, Serge Lazareff also does a fantastic job. With his likable swagger and way with slang, he and Max Gillies have a chemistry that makes the movie a convincing experience, despite its many raunchy passages. Graham Bond as Bogger, Pete's friend, lends his considerable liveliness to a small part which, nevertheless, adds spice to the movie. The final acting of note was by Elli Maclure as Ellie, a prostitute with whom Dick has a revealing heart to heart talk. An actress who has played in several movies, more on television, here provides an insightful, candid performance which gives another view of femininity which is in contrast to the film's concentration on female nudity.
Soundtrack: Brian May's music for THE TRUE STORY OF ESKIMO NELL ticks all the boxes in terms of the feelings the movie encompasses. Happiness, sadness, pathos, slapstick, hilarity, and many other states, are all expertly evinced by Mr May in his work, immeasurably assisting the movie.
Mise-en-scene: Several personnel have made notable contributions in making THE TRUE STORY OF ESKIMO NELL persuasive onscreen for viewers. Colour cinematography by Vincent Monton is beautiful, capturing hues in a lavish, yet agreeable manner. One of the best uses of colour is the scene where Dick rescues Nell, reminiscent of the ice floe sequence of WAY DOWN EAST. Art direction by Josephine Ford and Ray Wilkinson creates a wild west which convinces not only visually in its detail but also, has an endearing nature of familiarity in its tone. Costuming by Aphrodite Kondos captures the personalities of all characters to a tee, from Dead Eye Dick to Mexico Pete, Bogger to Eskimo Nell herself.
Notable Acting Performances: Max Gillies, Serge Lazareff, Graham Bond, Elli Maclure.
Suitability for young viewers: No. Infrequent coarse language, male nudity, female nudity, adult themes, medium-level violence.
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