THE GREAT MACARTHY (1975)

Title: THE GREAT MACARTHY

Year of Release: 1975

Director: David Baker

Genre: Comedy, Sport

Synopsis: A rising young football player is recruited by force for the South Melbourne Football Club, and becomes involved with many colorful characters in his journey.

Within a film history context: Movies about Australian Rules Football actually appeared after THE GREAT MACARTHY'S release in 1975, making it the first movie in Australian film history about the topic. The next picture om the subject, Bruce Beresford's THE CLUB (1980) was about the goings-on at an Australian Rules Football Club, particularly emphasizing the schemes taking place among those involved in the club. AUSTRALIAN RULES (2002), directed by Paul Goldman, was entirely contrary. It was about white and Aboriginal people in a South Australian town, and how they find common ground in football, but also, detailed what separated them. Richard Gray's BLINDER (2013) concerned itself with a football player who inadvertently became embroiled in a compromising situation, leaves town, and returns years later to try and mend fences. In a similar vein was THE MERGER (2018), directed by Mark Grentell. A former football player comes back to his hometown to coach a team which is in dire need of inspiration, and how refugees are enlisted to play on the team. Jason Perini's CHASING COMETS (2018) was a comedy with a young football player, and his difficulties not only with the game, but also, his personal life. THE GREAT MACARTHY was the earliest of the films about a football player, and one of the most irreverent.

The movie had an outrageous vibe about it, sending up not only the Australian preoccupation with football, but also, the personalities involved in the clubs who pull the strings, particularly with reference to players. It was a light-hearted take on THE CLUB, which viewed these subjects in a more serious manner, although it had many sharply satirical moments. The club members in THE GREAT MACARTHY could be classified as being cartoonish, while THE CLUB's members, and their behaviour, were based more in reality, and rooted in drama. Aside from this, THE GREAT MACARTHY had elements in common with films such as BLINDER, THE MERGER, and CHASING COMETS, which focused upon the personal life of their main protagonist. This is something THE CLUB shied away from, that is, focusing one character in particular. It was a multi-character narrative in this way, offering various viewpoints rather than concentrating on one key character, something that AUSTRALIAN RULES also did. THE GREAT MACARTHY and its counterparts, in comparison, offered an intimate portrait of the principal character, and how events in the movie revolved around him. The most brazen of the films about Australian football, THE GREAT MACARTHY is a beguiling motion picture.

Overview: David Baker is an Australian director who made two motion pictures, and a segment in an anthology film. He was more active on television, helming episodes of series for a number of years. His inaugural directorial credit was for 'The Family Man' segment in LIBIDO (1973), a film which explored the subject of sex in four parts, all made by various directors. Mr Baker's movie was about a man whose wife was in labour, and how he and his friend invite two women to his beach house, where issues of feminism, masculinity, and sexuality play out. His final movie was BEST ENEMIES (1985) a complicated love quadrangle of a young man, his desire for his cousin and another young woman, and the latter woman's affair with another man. THE GREAT MACARTHY was David Baker's second, and best-known film, one which reflected his ideas of love and romance present across his other contributions.

With THE GREAT MACARTHY, David Baker has created an amusing movie with some surprising moments of periodic introspection. The movie focuses specifically on a talented football player, and how his sporting prowess assists him in also gaining employment not only in an office, but also in a prominent football team. It is a boisterous examination of the effect of fame on a young man, MacArthy, the game of football itself with the shenanigans of a club, and, in particular, his various dalliances with the opposite sex. Mr Baker handles all these differing elements with a sense of style and je ne sais quoi, making this one of the most original Australian films ever made. It is a likable movie that never becomes boring or staid, which is it a credit to the director, and his personnel. On the other hand, when seen on a deeper level, though, the film has certain deficiencies which do not assist it overall.

The mood of irreverence is one that works quite well in THE GREAT MACARTY, but sometimes it can be taken too far. While there is a spirit present of anything goes, and this can be charming, it often tends to be grating. THE GREAT MACARTHY does jump from one situation to another with regularity, and the viewer has to be keen-eyed to keep up with the assorted derring-do. This, in effect, does blunt the emotional power that should have been there in many an instance, making matters cavalier. MacArthy's romantic pursuits, for example, flitting from one woman to another, was presumably intended to be satirical, which is the overall tone the movie promotes, but only one of his amorous relationships has a sense of poignance. MacArthy and his English teacher Miss Russell provide the best moments in the movie in this vein. The remainder of his female relationships are just a display for outrageousness, and overdone sexual frolics. Other aspects of the film do stand out for being overwrought.

The portrayal of the characters involved with the club, and the Ball-Miller family, for example, are sometimes over the top. There is a tendency for dealing in caricatures, and while this does raise a smile from time to time, head shaking often follows when it occurs too often. MacArthy himself, Miss Russell, Andrea, and Stan are notable exceptions to this. Andrea's scenes at the hospital with MacArthy are, though, utterly ridiculous, but thankfully do not impact much on them to a great degree. One does wish for a little more seriousness at times, to get to the heart of things, but it appears in fits and starts. The sense of pathos present in David Baker's other works such as in the LIBIDO segment are largely not in evidence here, sending the movie seesawing from one emotional extreme to another. In saying this, some things can be said about THE GREAT MACARTHY. Even though it is not successful overall in its execution, it is a fun movie that tackles the topic of Australian Rules Football in a breezy, if sometimes exaggerated, manner.

Acting: THE GREAT MACARTHY has several excellent acting contributions. In the lead role of MacArthy, John Jarratt makes a fine film debut. An actor with an amiable, low-key manner, he makes it understandable why three women pursue him in the movie with his effortless charm. As his true love, teacher Miss Russell, Judy Morris provides another thoughtful performance to her collection of excellent interpretations. An actress with a soft voice, subtle mannerisms, and air of mystique, Miss Morris scores in her part. The complete antithesis to Miss Russell can be found in the person of Andrea, MacArthy's second dalliance, played with force and humor by Kate Fitzpatrick. With her dominant manner, strong voice, and ability to chew the scenery with utter control, Miss Fitzpatrick makes another of her distinctive characters come to vivid life with the volatile Andrea. 

As Rerk, a motor mechanic seen in the beginning of the movie, Peter Cummins makes an impression in a small role. An actor with an ebullient nature and livewire attitude, Mr Cummins makes every second count with his too-short screen time. The Ball-Miller family butler Stan is given subtle comic treatment by Max Gillies. A performer with the uncanny ability to keep a straight face in the eye of wacky situations, Mr Gillies rounds out the fine acting in THE GREAT MACARTHY. 

Soundtrack: In terms of its soundtrack, THE GREAT MACARTHY's use of music is just right. Bruce Smeaton's score is featured throughout the movie in a spare manner. Mainly featured in the movie's most farcical moments, there are more serious scenes where music is employed that works. Aside from this, the film uses the same piano musical piece both during the opening and closing credits. It expresses the movie's anything goes feel in an effective, jazzy way.

Mise-en-scene: THE GREAT MACARTHY is convincing on a visual level as a viewing experience. Cinematography by Bruce McNaughton captures the movie nicely, the Eastmancolor stock striking a suitably muted note in a movie which is otherwise given to outrageousness in many an instance. Art direction by David Copping is of a high level, with all interior locations and the furnishing of these excellent. From the football locker rooms to Miss Russell's gothic home, to the grand Ball-Miller home and the office rooms, settings in THE GREAT MACARTHY are one of its best features. Costuming is another standout in the film, with all characters dressed appropriate to their characters' personalities. The outfits worn by Kate Fitzpatrick and Judy Morris are stylish, with the former more glamorous in keeping with Andrea's wealthy status. John Jarratt is also well-outfitted as MacArthy, with his suits and more casual attire reflecting the changes the character undergoes through the course of the picture. 

Notable Acting Performances: John Jarratt, Judy Morris, Kate Fitzpatrick, Peter Cummins, Max Gillies. 

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

Overall Grade: C

Link: IMDB Page