THE GIG (1985)

Title: THE GIG

Year of Release: 1985

Director: Frank Gilroy

Genre: Drama

Synopsis: Five amateur musicians land a gig in a Catskills resort, but find that matters are far from idyllic on this trip.

Within a film history context: Movies which revolve around jazz musicians have appeared many times in cinema. One of the first films to deal with these was John Murray Anderson's KING OF JAZZ (1930). A jazz revue with Paul Whiteman's band prominently featured, and songs by various performers such as Bing Crosby and John Boles, it was notable for also being an early example of a Technicolor film. ROBERTA (1935), directed by William A. Seiter, mined musical romance territory. A jazz musician, and his friend, squire a faux countess and a Russian princess. A Fred Astaire-Ginger Rogers vehicle, it also starred Irene Dunne, and Randolph Scott. In H.C. Potter's SECOND CHORUS (1940), a jazz band leader is a main character, with two rival trumpeters doing their best to join his band with the assistance of their manager, for whom both have eyes. THE CRIMSON CANARY (1945), directed by John Hoffman, was of an altogether different persuasion in terms of story. In this mystery, a singer is murdered, and members of a jazz band are suspected of the crime. Alfred E. Green's THE FABULOUS DORSEYS (1947), was a biopic of jazz musicians Tommy and Jimmy Dorsey, who played themselves, with many musical pieces showcased. 

Into the 1950s, YOUNG MAN WITH A HORN (1950), directed by Michael Curtiz, had as its central character a trumpeter, and detailed his romantic pursuits, specifically of two women. Based on the life of musician Bix Beiderbecke, it starred Kirk Douglas in the lead, with Lauren Bacall and Doris Day as the women in his life. Anthony Mann's THE GLENN MILLER STORY (1954), was a biopic of ill-fated jazz band leader Glenn Miller, who died during his World War II military service. An enormous money-maker for Universal, its popularity led to a spate of other movies about bandleaders. PETE KELLY'S BLUES (1955), directed by, and also starring Jack Webb, was the story of a jazz bandleader in 1927 Kansas, and how he was reluctantly dragged into criminal activity. Maxwell Shane's NIGHTMARE (1956), was more in a suspense mode than straight drama. A jazz musician believes he has killed a man, but this may, or may not be what happened in this tense film noir. Biopic territory was again mined in THE EDDY DUCHIN STORY (1956), directed by George Sidney. The life, and times of jazz band leader and pianist Eddy Dunchin were explored here, with Tyrone Power in the lead of this box office success. 

Real-life band leaders again took the spotlight in Valentine Davies' THE BENNY GOODMAN STORY (1956). This time around, bandleader Benny Goodman was the focus, with his romance with future wife Alice synthesized. ST. LOUIS BLUES (1958), directed by Allen Reisner, was another addition to biopics of real-life bandleaders. In this instance, the life of W.C. Handy, father of the blues, was the topic, with Nat King Cole in the lead. Entirely contrary in tone was John Cassavetes' SHADOWS (1958). Two black jazz musicians live with their sister, the movie following their professional, and personal difficulties, with issues of race an important part of the narrative. The life of jazz drummer Gene Krupa was dissected in THE GENE KRUPA STORY (1959), directed by Don Weis. Mr Krupa's battle with drink and drugs were documented here, as well as his future wife Ethel. Melville Shavelson's THE FIVE PENNIES (1959), looked at the life of bandleader Loring Nichols, and the support he received from his family at the lowest points in his life.

The 1960s brought WHERE THE BOYS ARE (1960), directed by Henry Levin. One of the characters in this frothy musical romance was a jazz musician, who falls for one of the four young women in the story. Robert Mulligan's THE RAT RACE (1960), was a comedy of a jazz saxophonist and his romance with a dancer. With Tony Curtis and Debbie Reynolds in the lead parts, it was an entertaining movie. TOO LATE BLUES (1961), directed by John Cassavetes, was another take on jazz musicians, exploring a band leader's interactions not only with his colleagues but also, his relationship with a young woman. Martin Ritt's PARIS BLUES (1961), also had a leaning toward romance, this time with two American jazz musicians becoming involved with two young American women in Paris. The movie was notable as one of many films made by husband-and-wife acting team Paul Newman and Joanne Woodward, and another collaboration with Martin Ritt. ALL NIGHT LONG (1962), directed by Basil Dearden, was something a little different. The wedding anniversary party of a jazz musician and his wife is the focus, with a number of other characters drawn into the fray, their feelings coming to the surface. 

Leo Penn's A MAN CALLED ADAM (1966), expounded upon the life of an African American jazz trumpeter, specifically his very active personal endeavors. In LADY SINGS THE BLUES (1972), directed by Sidney J. Furie, the tumultuous life of jazz singer Billie Holliday was placed under the microscope. With Diana Ross in the lead role, her performance was celebrated, with able support from Billy Dee Williams and Richard Pryor. Equally emotional in tone was Martin Scorsese's NEW YORK, NEW YORK (1977). The difficult relationship between a saxophonist and a singer was examined, with Robert De Niro and Liza Minnelli in the central parts. Although lauded critically, it was a box office failure. THE COTTON CLUB (1984), directed by Francis Ford Coppola, was set in a Harlem jazz club of the late 1920s, and early 1930s. It was concerned with a jazz musician and his dealings with gangsters and assorted others in this financial failure. THE GIG was one of the most enlightening movies about members of a jazz band in the genre.

From the onset, THE GIG differs from the majority of the films about jazz musicians as its characters, with one notable exception, are all amateur musicians. All of the musicians in the other pictures had professional experience, but in THE GIG they are a group of men who gather every week to play their music. The movie captures how they feel when they land their first gig playing in a resort, and what happens as reality intervenes when a singer is dissatisfied with their playing, and they are replaced. This is in utter contrast to the movies where jazz musicians go about their lives playing professionally, and their personal lives also receive airing. In the case of THE GIG, the film does give keen insight into the private lives of its characters, and how they reached the point of accepting their first gig. The journey after they momentarily leave their lives for their big break, though, is where the emphasis rests. The events which occur here make them reassess where they are in their lives, and what will happen when they return to everyday existences and families. Other aspects of THE GIG are also worth examining.

Being of a character-driven nature, THE GIG also diverts from those examples where the jazz music trumps the action. It is not a case of music just for its own sake, such as KING OF JAZZ and SECOND CHORUS, where the importance of the tunes outweighed the dramatic content. While THE GIG has quite a few musical interludes, these are in keeping with what is happening to the characters. Whether they are practicing their music, or playing for the crowd, use of music does not overload the picture, but works well within its parameters. In addition, THE GIG has an affinity with the many movies which examine the personal lives of musicians, with YOUNG MAN WITH A HORN, TOO LATE BLUES, ALL NIGH BLUES just some examples. These are more down-to-earth films which keep away from elements such as murder, and mystery which marked others such as THE CRIMSON CANARY and NIGHTMARE. With THE GIG, it deftly shows that unsavory people can appear without any notice in a situation, and this lack of obviousness in its storytelling is another reason why the movie succeeds. A telling film about amateur jazz musicians, THE GIG is a very watchable movie. 

Overview: Frank Gilroy was an American director who made five motion pictures from 1971 to 1989. He was also a screenwriter for ten films, and a prolific playwright. Mr Gilroy's first movie, DESPERATE CHARACTERS (1971), was about a married couple living in an increasingly toxic urban environment, which teamed with their personal issues provokes a personal firestorm. FROM NOON TILL THREE (1976), was the director's next project. A bank robber falls for a widow, but their union is paved with many obstacles in this western set in the west of the late 1800s. Next came ONCE IN PARIS (1978). In Paris, an American screenwriter befriends a French chauffeur, and falls for an American woman there, but his status as a married man causes issues with his new amour. THE GIG was Frank Gilroy's penultimate movie, and one of his best efforts.

With THE GIG, Frank Gilroy has constructed an entertaining picture which is both observant, but also, unsettling. It is the story of several amateur jazz musicians venturing out for an engagement at a Catskills resort, finding themselves there in an unexpected situation. The director has a firm grip on both his narrative and characters, the movie's events unreeling in an organic, satisfying manner. Frank Gilroy accomplishes this in the following way. Mr Gilroy introduces each of his protagonists to the viewer, ensuring that one knows exactly where they are coming from in terms of their mindsets. Their personal lives, and in some cases, marital unions are also presented, offering spectators a clear perspective on these people, and why they want to be musicians. 

It is a film which has a bit of everything, ranging from comedy, drama, pathos, to sadness. THE GIG handles all of these with panache, making things real for viewers to witness. Where it is at its height is during the sequences where the musicians are tested with the entrance of a singer, and how his reaction to them takes events in an entirely unforeseen direction. The fallout from this, and its effect on the band members is palpable, giving the movie a disturbing subtext where things go full circle. A revealing study into the lives of people seeking to go with their dreams, but finding reality a bitter pill to swallow, THE GIG is a very enjoyable movie.

Acting: THE GIG has a number of excellent performances which make it a fun experience. In the lead part of Marty, the band's leader, Wayne Rogers is formidable. An actor known for television show M*A*S*H, here he makes Marty a real figure, his smooth-talking persona great to watch. Businessman Jack is given a realistic edge by Andrew Duncan. The most grounded of all the men in the band, his passion for music something which balances his already solid married, and family life. Mild-mannered dentist Arthur is one of the most comic but also, the most sorrowful of the group. Daniel Nalbach nails his role as the medical practitioner who knows what he wants, being music but is hesitant to reach out and take it. Stan Lachow, as George, is another fine actor in THE GIG. While his role is small, nevertheless, he manages to cast a shadow over the proceedings with his presence. Four other performers also make their presence felt in THE GIG.

Ambitious, hard-bitten singer Rick Valentine is another striking portrayal, courtesy of Jay Thomas. His rage and passion are keenly felt, Mr Thomas ensuring that the audience knows his exact feelings on things. In a small part, Karen Ashley makes every second count as Janet, Jack's wife. Seeming comfortable in a blissful domestic setting as mother and wife, Miss Ashley provides one of the two portraits of wives in THE GIG. The second view of domesticity is given credence by Susan Egbert as Laura, Gil's wife. Her anger at trumpeter husband Gil's reluctance to take his hobby more seriously is in contrast to Karen, giving another view on matters. Gravelly-voiced resort owner Abe is splendidly brought to life by Joe Silver. An actor adept at expressing of myriad of emotions, always authentic, and never false, Mr Silver's wonderful acting rounds out the fine contributions in THE GIG.

Soundtrack: As THE GIG is a movie about jazz musicians, it naturally features many scenes of the band members either playing, or practicing their tunes. These are all diegetic uses of music, the only incident which stands out is the final scene before the closing credits. The band plays roadside, and this continues in a non-diegetic manner into the credits sequence.

Mise-en-scene: THE GIG is pleasing in terms of its onscreen viewer experience. It clearly delineates the locations of its characters by depicting several of them in their domestic settings. Gil's home with its spiral staircase, Jack's pleasant home in the suburbs, Arthur's home with his mother, to name some examples, give a sense of veracity, as if the characters do exist for real, and live lives outside their identities as musicians. The Catskills resort is also excellent, both interiors, and exteriors, vivid. Jeri Sopanen's cinematography may seem washed-out on first impression, but works as the movie would not have been as true to life shot with blazing color stock.

Notable Acting Performances: Wayne Rogers, Andrew Duncan, Daniel Nalbach, Stan Lachow, Jay Thomas, Karen Ashley, Susan Egbert, Joe Silver.

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

Overall Grade: B

Link: IMDB Page

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DIMBOOLA (1979)

Title: DIMBOOLA

Year of Release: 1979

Director: John Duigan

Genre: Comedy

Synopsis: Life in an Australian country town, with preparations for the wedding of two of its townfolk.

Within a film history context: Ocker comedies began to appear on Australian cinema screens from the early 1970s. In general, these spotlighted a male character, the eponymous 'ocker' who indulged in uncouth behaviour ranging from excessive drinking, sexual antics, swearing, and sexist attitudes toward the opposite sex. The first film in this genre was Tim Burstall's STORK (1971). The story of a gangly man and his outré activities, specifically with women, was a box office success of its time, and initiated the ocker genre to cinema. THE ADVENTURES OF BARRY MCKENZIE (1972), directed by Bruce Beresford, was another movie that made money. A man goes to Britan with his aunt to claim an inheritance, and a clash of cultures between Australian, and British sensibilities ensues in this comedy. The movie was so popular that a sequel, BARRY MACKENZIE HOLDS HIS OWN, was released in 1974, also directed by Bruce Beresford. 

A less humorous entry in the cycle was Tim Burstall's PETERSEN (1974). A rough and tumble electrician goes to university to further himself in life, but finds that he is instead drawn to sex escapades and affairs, unable to stay away from the lewder aspects of life. More satirical about its milieu and characters was DON'S PARTY (1976), directed by Bruce Beresford. The activities of characters on election night in 1969 Australia are placed under the microscope, letting everything hang out in their lives in both literal, and figurative senses. One of the final ocker movies of the 1970s, Tom Jeffrey's THE ODD ANGRY SHOT (1979), this time was set during the Vietnam War, following the hijinks of Australian soldiers on their tour of duty. DIMBOOLA was also released in 1979, but was another take on the ocker comedy.

It shared the focus on a male character, and his personal relationships, especially with women, which the other ocker films also highlighted within their individual contexts. In the case of DIMBOOLA, though, Morrie is found in a compromising situation with a stripper before his wedding, which sets in motion the breakup of his engagement. He is shown to not be comfortable placed in this position, unlike the characters of STORK, PETERSEN, and DON'S PARTY, where they were anything but unwilling in this respect. Aside from this, DIMBOOLA also had a multi-character structure, similar to DON'S PARTY, where events are deciphered through the eyes of many diverse protagonists. This allows for multiple viewpoints to be examined by the audience, although DON'S PARTY did a much more effective job due to its sturdier narrative.

Another area where DIMBOOLA diverts is in its setting. STORK, PETERSEN, and DON'S PARTY were in predominant urban/suburban settings, while THE ADVENTURES OF BARRY MCKENZIE, and its sequel, were largely set in England. DIMBOOLA was set in a country town, and afforded a completely different visual background for its characters, and consequently, for the viewer than the other movies. Lush outdoor locations, a country town with its homes, streetscapes, stores, cinema and theatre was the best, most expressive feature of the movie. The visual beauty of DIMBOOLA somewhat balanced its top-heavy storyline which too often strayed into over the top, exaggerated moments. An interesting sojourn into ocker film territory, DIMBOOLA is another perspective on this film genre.

Overview: John Duigan is an Australian director who has made twenty-one films over the course of thirty-seven years. His movies are thoughtful, character-driven narratives, many of these set in past eras, or with rural backgrounds. THE FIRM MAN (1975), marked Mr Duigan's debut. It was the story of a businessman starting work at a new company, his personal life, and friendship with a younger woman which takes things into another direction for him. THE TRESPASSERS (1976), similarly dealt with a male character and his personal troubles, this time following a journalist living with a woman. He has an affair with another woman, and the meeting of both of these women in his life takes a surprising turn. MOUTH TO MOUTH (1978), was the study of four young people battling to survive in the big city, documenting their hardships in detail. Into the 1980s, John Duigan made a number of meaningful films.

WINTER OF OUR DREAMS (1981), was about a man who hears of the suicide of a former girlfriend, and how he tries to discover more about this and becomes involved with her friend, a prostitute. This was John Duigan's first commercially successful movie, with Bryan Brown and Judy Davis in the lead roles. In FAR EAST (1982), a woman, whose journalist husband has been kidnapped, seeks help from a former lover, played by Bryan Brown, to save him from the Filipino military junta. Much more comical in orientation was ONE NIGHT STAND (1984). Four teens are trapped inside the Sydney Opera House, with nuclear war breaking loose worldwide, causing them to behave in a weird way, with Sydney possibly in the midst of an attack. It was back to more meditative fare for Mr Duigan with THE YEAR MY VOICE BROKE (1987). Charting the fractured relationship between a young man and woman in 1960s Australia, it won five Australian Film Institute awards, and made a star of its lead actor Noah Taylor. John Duigan rounded out the decade with ROMERO (1989), his first American film. A biopic of Salvadoran Archbishop Oscar Romero during the tumultuous era of a tyrannical regime in El Salvador, it was critically well-received, but a loss maker financially. 

It was back to Australian movies for John Duigan with FLIRTING (1991). In this sequel to THE YEAR MY VOICE BROKE, the character from the first film is now in boarding school, and falls for a young woman in an all-girls boarding school. Their union is threatened by issues of race, as the young woman is Ugandan-Kenyan-English. WIDE SARGASSO SEA (1993) was a period piece set in 1840s England. A young woman inherits land in Jamaica, on the proviso that she marries, but this marriage is filled with nothing but heartache for her, and her husband. SIRENS (1994), was set in 1930s Australia, charting the scandalous activities of artist Norman Lindsay, famed for his portraits of naked women. It was another success for John Duigan, grossing a handsome profit at the box office. 

John Duigan made his next American film, THE JOURNEY OF AUGUST, in 1995. The tale of a farmer in North Carolina of 1815, and his friendship with a female slave, it was an ambitious project which received miniscule box office. THE LEADING MAN (1996), was another letdown financially. A playwright initiates a complex chain of events to continue his affair with his actress-lover, trying to save his wife by seeking a lover for her, but things do not go the way he initially intended. LAWN DOGS (1997), was about a young pre-teen girl in a new gated community, and how her friendship with a gardener raises many questions about the nature of this relationship. In contrast, MOLLY (1999), was a comedy. A bachelor businessman takes on the care of his autistic sister, and she has surgery to improve her health, but things do not go to plan for Molly, or her brother. Into the 2000s and beyond, John Duigan made several more movies.

There was a foray into thrillers for Mr Duigan with PARANOID (2000). A young fashion model attends a party where she is left on her own, and undergoes many painful and humiliating experiences. It was back to comedy with THE PAROLE OFFICER (2001). A parole officer is set up for a murder charge, and finds that his former clients are the only ones who can help him out of this scrape. HEAD IN THE CLOUDS (2004), was another of John Duigan's period pieces. In this film, spanning from the 1920s, until the late 1930s in Europe, the lives of several young people are intertwined by love, and the flaming political atmosphere of the time. Unfortunately, it was another box office failure for the director, receiving acidic reviews. John Duigan's last picture to date, CARELESS LOVE (2012), centered upon a university student who works as a prostitute on the side, and becomes involved with one of her clients. Her life takes a turn for the worse after she falls for a fellow student, both of these relationships tested to the nth degree. As John Duigan's fourth movie, DIMBOOLA was one of his least successful projects.

In the case of DIMBOOLA, regrettably, the director has made an uneven motion picture. Set in the small real-life Australian town of the same name, it is based upon a 1969 play by John Hibberd. It follows the exploits of the town's residents, particularly focusing upon preparations for a wedding. DIMBOOLA also has a subplot about a British journalist who is in town to cover the wedding, and his involvements with the various citizens. While the director is adept at showing local colour, which is one of the movie's best qualities, the story is haphazard and overdone. There are too many characters in the picture, and it is difficult to keep up with all their adventures. In attempting to give as many characters as possible a chance to be seen in the film, it ends up being overloaded. DIMBOOLA did not require as many players as it had, and should have concentrated upon one main story thread. Morrie and Maureen's backwards and forwards engagement, complete with complications, is largely relegated to the back burner with the movie's avalanche of people, and their wacky ways, taking up space in the narrative. These consume valuable time that could have been better served with less people everywhere. Aside from this, there are some other tendencies which do not work in favor of the movie.

One would believe that having a British journalist covering the wedding would be beneficial to DIMBOOLA, giving it a sense of place, and perspective akin to a Greek chorus, but it never quite comes off as it should. Vivian Worcester-Jones, instead, seems to breeze into the movie, and out of it in the end. His only purpose is to comment lightly upon the happenings in the town, but the usefulness of the character is negligible. If he never appeared in the film, he would not have been missed. In addition, the movie likes to present cameos which is a positive thing, but having a host of characters pass through renders it top-heavy. The effect is that one does not have time to get to know these people, which points to something else in DIMBOOLA. The lack of real emotion felt for the characters, and what they go through, makes DIMBOOLA a dispiriting experience. The periodic vulgarity, and broad humor, results in many characters feeling more as caricatures than real people. Morrie's paternity should have been a stronger point in the film, but it is handled so flippantly one wishes things had been otherwise. DIMBOOLA seems to have been assembled just to see how outrageous one could be in the film, but without the spirit of real passion. One of John Duigan's most disappointing movies, DIMBOOLA makes one yearn for what could have been if it had firmer direction.

Acting: There are several performances which stand out in DIMBOOLA. As Morrie McAdam, Bruce Spence is in one of his best roles. A unique actor with a likeable presence, he does excellent work as the often-confused, put-upon Morrie. Morrie's other half, Maureen, is nicely played by Natalie Bate. With her forthright, well-spoken outlook, Miss Bate is a great foil for Morrie, and his lost-for-words persona. Unfortunately, Max Gillies, as Vivian Worcester-Jones, is not in one of his best parts. One of Australia's foremost comedians and impressionists tries hard to bring whimsy to his role, but is let down by the writing of the character. On the other hand, Bill Garner, as the ultra-masculine Dangles, Morrie's friend, is delightful. Seeing Dangles' masculinity satirized is one of DIMBOOLA's best moments, but Mr Garner ensures that Dangles has some vulnerable edges which make him real. 

Soundtrack: DIMBOOLA's use of sound is one of the things which works in its favor. Orchestral music is utilized both at the film's beginning, and end. In the first instance, it is diegetic, with the band playing in the town streets. The second time the piece is played is during the closing credits in a non-diegetic sense. The film otherwise has isolated instances of music, some diegetic, such as the band playing at the wedding, with non-diegetic music in scenes such as the evening after the buck's party, with Morrie laying on the ground, face covered in mud.

Mise-en-scene: One of DIMBOOLA's best aspects is its attention to detail in the visual experience for viewers. Tom Cowan's carefully composed cinematography is beautiful, making the locales in the country town lush to the eyes. His work on the interiors, such as Morrie and Maureen's wedding party, is likewise astute, evoking memories of Twentieth Century Fox studios' Technicolor extravaganzas with their appealing use of color. Production design by Laurence Eastwood, and Anni Browning's set decoration, are also pluses, creating a story world, and a country town which is vivid to witness, despite the film's wayward story. 

Notable Acting Performances: Bruce Spence, Natalie Bate, Bill Garner.

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

Overall Grade: D

Link: IMDB Page