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

THE TRUE STORY OF ESKIMO NELL (1975)

Title: THE TRUE STORY OF ESKIMO NELL

Year of Release: 1975

Director: Richard Franklin

Genre: Comedy, Sex Comedy, Western, Drama

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.

Overall Grade: A

Link: IMDB Page

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