Title: NUMBER 96
Year of Release: 1974Director: Peter BenardosGenre: Drama, ComedySynopsis: The lives, and loves, of the residents of an inner-city apartment building named Number 96.
Within a film history context: Movies which have an apartment block as their focus, charting the lives of those living in these buildings, have sometimes been featured in film history. One of the first to deal with the topic was Frank Tuttle's LADIES SHOULD LISTEN (1934). In this movie, a woman working as a switchboard operator in an apartment complex falls for a man living in the building, discovering his amour is trying to cheat him financially, and seeks to expose her, and her scheming husband. Equally focused on romance was THAT MAN'S HERE AGAIN (1937), directed by Louis King. It followed the blossoming relationship between an elevator operator, and a homeless young woman, with a number of misunderstandings before a happy ending. In a more suspense vein was H. Bruce Humberstone's I WAKE UP SCREAMING (1941). An apartment building is where the majority of the action occurs, specifically the apartment two sisters share, where one of them loses her life to a psychotic man. An exceedingly glamorous take on the theme was offered by DISHONORED LADY (1947), directed by Robert Stevenson. A fashion magazine editor's high life causes her emotional issues, and she is urged by her doctor to change her ways, and move to a smaller apartment, but her past resurfaces to create torment.
A comical view of apartment living was the gist of Delmer Daves' A KISS IN THE DARK (1949). A pianist discovers that he is the owner of an apartment building, and this leads to romance with one of the tenants, but also involvements with the other occupants in this breezy movie. The noir film THE WINDOW (1949), directed by Ted Tetzlaff, was also largely set in an apartment building. A young boy witnesses a murder committed by fellow residents, and is not believed by either his parents, or the police, but events conspire for his testimony to be finally validated. Similar to A KISS IN THE DARK, the action in Joseph Newman's LOVE NEST (1951) revolved around an apartment complex, this time a married couple owning the building, and coming into contact with wacky tenants. One of the most famous films set in an apartment building was REAR WINDOW (1954), directed by Alfred Hitchcock. A man uses a telescope, and views his neighbours in the opposite complex, and believes one of them has committed a murder, which leads to many unexpected developments. Also filled with tension, Roman Polanski's ROSEMARY'S BABY (1968) had its main characters live in a spooky apartment building, where they encounter neighbours who have more to them than first meets the eye.
A serio-comic take on apartment living was taken to new heights by THE LANDLORD (1970), directed by Hal Ashby. A wealthy young man purchases a dilapidated apartment building, and sets about to refurbish it, with many obstacles thrown in his way, and involvement in the lives of his tenants added, in this thoughtful film. Much more outrageous was Herbert Ross' THE OWL AND THE PUSSYCAT (1970). Mainly set in an apartment complex, and focusing upon the comings and goings in the home of a bookseller, and his involvement with a brassy prostitute, the movie's comedic elements, and racy action and dialogue, delivered by Barbra Streisand and George Segal, ensured it was a box office success of its time. Much of the action in LAST TANGO IN PARIS (1972), takes place in the lead protagonist's apartment, where an explosive love affair between a widowed man, and a young woman, develops. The intimate, and emotional nature of the affair differentiates this film in terms of the other movies with an apartment block setting. NUMBER 96 took a cue from the comedy films set in an apartment block, but added its own touches to the genre.
In terms of a multi-character emphasis, NUMBER 96 was closest to A KISS IN THE DARK, LOVE NEST, and THE LANDLORD in charting the events which occur to a large number of characters who all live in the respective apartment building. The comic elements in all three films somewhat matched the quirky story twists and turns of NUMBER 96, possibly the only difference is the attention in NUMBER 96 to sexual situations and saucy comedy, rather than more straight-laced comedy. In comparison, THE LANDLORD's sexual themes were more subtle in nature, addressing race and class, than the franker portrayals in NUMBER 96. Vera's romance with politician Nicholas Brent was the exception, one with pathos and guilt, deviating from the more physical interactions of Jack and Diana, Vera and Simon, and Simon and Don. Aside from this, other features of NUMBER 96 were worthy of discussion in retrospect.
While the overwhelming priority was on comic aspects, NUMBER 96 was not all fun and games. There is an easy blending of comic and dramatic components, with the serious sequences giving another perspective on the characters, deepening the viewer's knowledge about them. NUMBER 96 variously deals with issues such as rape, homosexuality, loneliness, and mental illness within its parameters. Some of the film's best set pieces revolve around Sonia's mental issues, and how her husband is trying to gaslight her. Likewise Vera's rape is shocking without being too explicit, cutting away at the right moment. The travails of career woman Maggie Cameron are also revealing, especially her drunken tirade, and gay slur against Don and Simon made for riveting viewing. In addition, the number of different character viewpoints makes the film reminiscent of THE LANDLORD, but in a livelier, bawdier manner. A likable movie, and an interesting addition to films set in apartment buildings, NUMBER 96 has some thoughtful moments which work well alongside its more raucous stretches.
Overview: Number 96 was a nightly adult soap opera, broadcast on the Australian 0-10 Network from 1972 until 1977. The show caused a sensation when it first aired, being a bubbling combination of drama, broad comedy, and hijinks, with a concentration on sexual content, specifically nudity. Its controversial profile ensured high ratings, and in its tenure tackled many subjects such as cancer, crumbling marriages, homosexuality, interracial relationships, and rape. The campy nature of the program eventually faltered, though, with ill-considered decisions, mainly the death of beloved characters, making their impact felt on viewers' consciousness. In the early 1970s, when the program was at its height, it was decided to film a movie version of the television series. It was a financial success, filmed in colour, that was another lure as the television series was still shot in black and white at the time. NUMBER 96's director was Peter Benardos, an Australian director and producer of episodic television in Australia for soap operas such as Neighbours but, is best known for his contributions to Number 96. As NUMBER 96 is Mr Benardos' sole motion picture directorial credit, this overview will be devoted to a discussion of his role in this movie.
On the surface, NUMBER 96 is an entertaining extension of the popular series, featuring many of the characters who graced television screens with their presence. It moves quickly, at a good pace, without being too fast, and, thankfully, never drags. Basically following an episodic structure similar to the television series, it features a large ensemble cast, with many stories intertwined to sound effect. The way the movie is written, it is easy to pick up on the action, and characters, without any overt complexity. While familiarity with the television show was possibly a given, one would not have to have been a viewer to enjoy this film. The combination of drama, and comedy is also good, never jarring in moving from one story to the next. The comic vignettes have some very amusing passages, such as Dorrie's marriage woes, without being too over the top. Aside from this, there are also subtle references to class conflict through the use of character Claire, and her glamorous story is a contrast to the more everyday lives of the residents of the apartment block. NUMBER 96 does have a number of good qualities such as those described, but there are issues with the film when examined in more detail.
Two of the main stories, while adequately presented, could have benefitted from further work. The introduction deals with Vera's rape, which is shown as being an act of violence, given a haunting aura with a woman from the biker gang watching the rape unfolding, laughing demonically. The story deals with this situation in a quiet manner in the beginning, by having Vera recuperate from her ordeal at friend Claire's mansion. Vera then falls into bed with a younger man, and subsequently becomes involved with an older man. There is no real examination of the aftermath of Vera's rape, for example, by staying distant from men, or other romantic involvements. The rape is used as a point for Vera to end her relationship with the politician, but just because the rapist was the older man's son. There is no scene where she vents her anger at what happened, and this event, unfortunately, is played down psychologically, where it could have been more emotionally explosive. Another story in NUMBER 96 was also problematic in its execution.
The story of Sonia's mental issues, and marriage to Duncan, a man who only wants her money, and seeks to drive her insane, is good, but lacking in certain areas. The build-up to showing her husband Duncan as the louse he really is was not there, the viewer not given any idea until late in the story of his real intentions for his wife. Similarly, the use of Diana is equally indifferent. Shown as a bed partner for Jack Sellers, dressing and undressing, one is never given the sense that she dislikes being involved with Jack until the final scenes. There could have been scenes where Diana glowers after her session with Jack, which would have created additional suspense with the story. Instead, she is mainly used for nude scenes, but the sequences where Diana and Duncan try to send Sonia crazy are well-done, and visually artistic. A related issue is the leaning toward nudity in the film, especially in the case of Diana, which reeks of exploitation.
It is understandable that nudity would be shown in the film version, as the television series had a heavy emphasis on this, and sexual situations and innuendo, but having too much of it becomes grating. While it may have been seen as a drawcard for viewers, being that they could see things on the big screen that they could not on the small screen, one wishes that it could have been toned down. The rape scene could be noted as the exception, realistic in its horror, and brief use of nudity, but scenes such as Diana prancing around naked, bare in the horror sequence, and Vera and Simon's bed scene were unnecessary. Covering up more would have benefitted these parts, and not making the nudity the key element in the scenes. As it is, there is sufficient interest in the characters, and their plights, without having nudity shoved in front of one's nose at every opportunity.
The most comical scenes of nudity were the man in the laundromat undressing, and being caught by Dorrie Evans, and Dorrie stumbling into the male sauna, which both worked. A common element in 1970s Australian movies, and international cinema, male and female nudity, in retrospect, may have worked against what the filmmakers were trying to achieve. The intention to shock and surprise seemed to be paramount, and was in keeping with the uninhibited times of the era, but too much of this can detract from moments that should have been more telling in a humanistic manner. In summing up NUMBER 96, although it was, overall, a flawed piece of filmmaking, it was nevertheless an engaging film in its carefree, risque way.
Acting: While the entire cast performed well in NUMBER 96, there were some actors whose contributions in the film version stood out. Pat McDonald, as busybody Dorrie Evans, was an ace comedienne whose energetic performance was one of the reasons why the film, and the television show worked so well. In other hands this character may have been vapid and one-note, but Miss McDonald gives her Dorrie not only a brash attitude which is fun to watch but also a vulnerability, and moral compass, that makes Dorrie Evans a thoroughly three-dimensional character. Tom Oliver, as Jack Sellers, is the upbeat playboy whose witty wisecracks make him an appealing contrast to the other male characters. A personable actor with great charm, he shows a serious side in the story with Sonia that makes his Jack well-rounded. As Sonia, a woman plagued by mental issues, Lynn Rainbow is convincing as the put-upon heroine in a difficult predicament. With her eloquent dialogue delivery and warmth, Miss Rainbow draws sympathy with her predicament in the movie. On the other hand, NUMBER 96 wastes the talents of Rebecca Gilling as Diana. An attractive actress with the ability to connect with the audience, as borne out by her other cinematic, and television appearances, here her intensity has not been properly utilized. Joe Hasham, as gay lawyer Don Finlayson, contributes a thoughtful performance as the logical, friendly Don. The object of desire of both men, and women in both film and television versions of NUMBER 96, he is the most centred of all the characters. Five other actors also present distinctive performances in the movie.
Chard Hayward emits magnetism as waiter Dudley Butterfield, displaying a facility with saucy one-liners. Mr Hayward's larger-than-life personality is a delight to witness, providing some of the movie's most pleasurable moments. As Vera Collins, Elaine Lee exudes glamour as the seamstress with a questionable past. An actress with a smoky voice and charismatic personality, she shines as the beleaguered heroine with a pleasing sense of humor. In a completely different vein was the bewitching Bettina Welch as businesswoman Maggie Cameron. The bitchy Maggie is most comfortable when chewing people up, and with a propensity for tipsiness, but Miss Welch makes Maggie a character with depth, where there is more going on beyond first appearances. John Orcsik, as businessman Simon Carr, Vera and later, Don's lover, strikes a subtle note in the film. An actor with a composed, low-key aura, and soothing voice, he does great work as the sexually-confused, intriguing Simon. His confrontation scene with Bettina Welch's Maggie is powerful to witness. As the haughty Claire Houghton, Thelma Scott brings an air of the aristocratic to NUMBER 96. With her plummy voice and snobby dismissals of modern society, Miss Scott is another memorable portrayal. The final acting of note in NUMBER 96 was by Patrick Ward as Tony Brent, the son of politician Nicholas Brent. An actor whose model looks made him appear out of the pages of a fashion magazine, he brings a simmering anger and danger to the movie that is potent, despite his character appearing for a short time on screen.
Soundtrack: NUMBER 96 has a spare soundtrack, mainly consisting of the opening, and closing credits theme, which was the same one utilized on the television series. Composed by Tommy Tycho, this score perfectly encompasses the variously madcap, raunchy, serious tone of the film, and series. The only other non-diegetic music was the creepy piece accompanying Sonia's nightmare, with diegetic music employed in Dorrie and Herb's costume ball wedding anniversary party.
Mise-en-scene: The film version of NUMBER 96 uses the opener, and closing theme from the television series, which provides a sense of comfort, and familiarity, to the movie. Filmed in colour at a time when the television series was still taped in black and white, the colour is quite good, if not entirely crisp. The sets are similar to what was shown in the television version, and the movie also contains quite a few outdoor sequences, such as Claire Houghton's pool, which give the goings-on a realism that only authentic locations can provide.
Notable Acting Performances: Pat McDonald, Tom Oliver, Lynn Rainbow, Joe Hasham, Chard Hayward, Elaine Lee, John Orcsik, Bettina Welch, Thelma Scott, Patrick Ward.
Suitability for young viewers: No. Male nudity, female nudity, adult themes, medium-level violence.
Overall Grade: CLink: IMDB Page
