INTERVIEW WITH SCREENWRITER DAVID SALE

I have the great pleasure today of welcoming a very special guest, screenwriter David Sale, to CINEMATIC REVELATIONS for an interview. David was the writer of both the big-screen version of NUMBER 96 [my review of the film can be found here] and the series, and creator of the serial. He also has credits in Australian television, particularly as writer and executive producer of The Mavis Bramston Show. In this interview David will be discussing his role as writer in the NUMBER 96 movie, screenwriting, and acting, and moviemaking.

Welcome to CINEMATIC REVELATIONS David!

Athan: Where did you learn the art of screenwriting?

David: My only lessons were from watching movies. I was a film fan from childhood. I believe that the ability to write is an in-born talent. Even in primary school, my little essays were read out to the class by our teacher. I loved thinking up stories then writing them down. Teaching courses can channel the ability to write into special fields such as books or screenwriting, but the basic talent has to be there. I had no training at all.

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Athan: Where did you study acting?

David: Again, I had no formal training. My parents and I were migrants from Manchester. I wanted to be a journalist, so started a cadetship with the ABC News Dept. in Melbourne.  However, I drifted into acting with a suburban amateur group, then I graduated to the Melbourne Little Theatre where I part-wrote and performed in two hit revues. I decided to go back to England to become a professional actor where nobody could laugh at me if I failed. Almost immediately I did a summer season of weekly Rep in Bognor Regis, then played the murderer in Agatha Christie’s The Mousetrap in a British Council tour to Malta. Back in London, I played Malcolm in Macbeth, various bits on TV and two “B” grade movies. I was up for a part in Coronation Street thanks to my dormant Lancashire accent, but that meant going back to live in Manchester where it was filmed and that seemed like a backward step. Homesickness for Australia won out and I came back to Melbourne, resuming and combining  the writing for TV (In Melbourne Tonight etc.) with acting - more revues, a Melbourne Theatre Company tour of And the Big Men Fly, and a year understudying the King in a lavish production of The King and I. (I never got to go on, thankfully - I was under rehearsed and too young for the part). I was content playing his “secretary, Phra Alack. Then I switched to Sydney, just in time for The Mavis Bramston Show, and my career REALLY took off!!!

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Athan: NUMBER 96 was the top-rating show of the early 1970s in Australian television. How did the concept for a film version eventuate?

David: It seemed a logical step. The TV series was still in black and white. Film offered the opportunity of colour - and to producers Cash-Harmon the chance to make even more money by capitalising on the TV series’ phenomenal success.

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Athan: I found the intertwined stories of drama, and comedy entertaining in the NUMBER 96 movie. How did you select the stories which made their way to the screen? Were there stories proposed for the movie that could not be presented for reasons such as time constraints?

David: Script Editor Johnny Whyte and I collaborated on the screenplay. Over a week-end, we thought up individual; and entertaining plots that suited the characters and could all be resolved in two hours instead of being strung out over numerous episodes. Johnny and I then just took blocks of storyline to script and these dovetailed perfectly into the whole because we knew each other’s work - and our subjects - so well.

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Athan: What did you most enjoy about the experience of filming the NUMBER 96 movie?

David: I had little to do with the actual filming once our screenplay was handed over. The actual filming was a breeze for everyone involved. It was completed in two weeks by actors familiar with their parts, on the existing studio sets,  A few outdoor scenes were included, it rained on two of the exterior filming days, but the film still came in on time and - reportedly - under budget.

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Athan: What were the main differences for you in the NUMBER 96 movie as compared to the television series?

David: There seemed little difference to me. I was writing for characters I’d created and knew off-by-heart. Except for when it hit the big screen of course, I was able to experience the incredible reaction of the live audiences first-hand, attending the various premieres. Not only were they seeing their favourite characters in colour, but as each character made his or her first appearance, there was a deafening wave of applause as if it were a stage show. I found that quite moving.

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Athan: What for you was the most demanding, but emotionally satisfying segment of writing the NUMBER 96 movie?

David: I don’t want to diminish the task of doing the movie, but really it was just like writing an extension of the series. The veteran Hollywood screenwriter, Casey Robinson, had come to live in Australia and became a friend. He’d been prolific at Warner Bros during Hollywood’s Golden Years and wrote many of the Bette Davis hits such as Now Voyager and Dark Victory. He was sitting nearby at the Sydney premiere, and I wondered apprehensively what he would think of our humble offering.  He said: “Good work - you’re giving the people exactly what they want!”

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Athan: Have you kept in contact with any cast members and crew from NUMBER 96?

David: Sadly, many of the participants of Number 96 have passed on, but we survivors are like family. I’m still regularly in contact with Sheila Kennelly, Carol Raye, Lynnie Rainbow and others.

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Athan: NUMBER 96 was directed by Peter Benardos, who also directed the series version of Number 96, and was his only feature film. What was your experience working with Mr Benardos on the movie?

David: As I said, I had little to do with the actual filming, but Peter Benardos was the utter professional who had worked efficiently on countless episodes of the series as director, so I knew the movie was in safe hands.

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Athan: NUMBER 96 the movie was one of the top-grossing Australian films at the box office in 1974. How did it feel seeing the characters, and stories you created on the big screen?

David: Top grossing. Thereby hangs a murky tale! Our contracts stipulated that Johnny Whyte and I split the $10,000 for the screenplay into $5,000 each, but also that we were to receive a small percentage (I forget how much) of “the producer’s gross profit.” Thanks to some fancy manipulation in the world of accountancy, Johnny and I never received another cent! We were either so naïve or carried away by success, we let it pass.

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Athan: You had a bit part in the 1959 American movie ON THE BEACH, which was made in Australia by United Artists, and directed by Stanley Kramer. The film starred American screen actors Gregory Peck and Ava Gardner in major parts. What was it like making the movie, and meeting these luminaries?

David: I was still a cadet reporter on ABC radio News when I “took a sickie” to answer a casting call for a day’s ‘extra’ work in On the Beach. Every actor in Melbourne had put their name down, but ended up in street crowd scenes. I was fortunate enough - I know not why - to be called as a guest on a confined set - a great opportunity to see the four major stars work. It was actually Fred Astaire’s big scene, and he was a little withdrawn and worried about remembering his lines, but managed to lighten things up by doing a few incongruous tap steps. Watching off-camera, a hand clapped on my shoulder.  I looked up and Gregory Peck smiled down at me.  “I gather we’re all doomed”, he joked.   Little did I know that in later years I’d be great friends with his ex-wife, Greta. Ava Gardner was also friendly. During a break, she flopped down in the chair next to me on the ‘veranda’ of the fake house the party was in. She was complaining to her hairdresser that she never got letters from friends at. home.  Her hairdresser said: “But Ava, in order to GET letters, you also have to SEND them.”   Ava turned to me. “I can’t write - I can’t even spell.”  “Why don’t you use a dictionary?”  I suggested. She patted my knee. “The words I wanna use aren’t IN a dictionary!” she replied with a naughty wink. It was a magical day for me.

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Athan: You also acted in two British films from 1960, JUST JOE and CROSSROADS TO CRIME. How did you feel in the capacity of actor in these movies?

David: I felt comfortable immediately and quickly learned the trick of blotting out the looming camera and about a dozen crew members crowding intently it  seemed like just inches away…and instead I just concentrated on the person I was swapping dialogue with. In Just Joe the other person was Jon Pertwee, who was later to become one of the “Doctor No’s” or “Who’s” or whatever he was called.   He was very kind and put me at ease in the six scenes we shared together. I played his assistant in a soap factory. And I was able to repay his kindness in a final scene when he had to stay completely submerged in a vat of soapy water until I had delivered the tongue-twisting line: “It’s the black speckles in “SQUIZZ” that make every day a white washday!” I did it in one take, for which Jon was truly grateful.

My bit (blink and you’ll miss me) in Crossroads to Crime led to a lifelong friendship with the wonderful Miriam Karlin. During a break, she motioned me over to where she was sitting and asked for my name and phone number. She thought I was just the type when replacements became necessary in the hit show she was starring in - Fings Ain't What They Used to Be. Nothing came of this kind gesture, but when she came to Australia she remembered me and when she heard of my writing she insisted on my doing all her special material in The Mavis Bramston Show.

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Athan: Do you have any upcoming projects of which you would like to tell readers?

David: I came to live in Queensland [Australia] to take it easy. but a writer never retires. There are always intriguing ideas and potential plots buzzing around in a writer's mind, so one never knows….

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Thank you so much today for your time David, and for the understanding you have provided into the art of screenwriting, acting, the NUMBER 96 movie, and moviemaking. It has been wonderful to have you on CINEMATIC REVELATIONS. You are welcome to return whenever you wish.

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David Sale links

+David Sale IMDb Page

+NUMBER 96 movie IMDb page

INTERVIEW WITH ACTOR JOHN ORCSIK

Today I have the lovely pleasure of welcoming a very special guest, actor John Orcsik, to CINEMATIC REVELATIONS for an interview. John has acted in many motion pictures over the years, making his film debut in the NUMBER 96 movie [my review of the film can be found here] PETERSEN, THE MAN FROM HONG KONG, THE EDGE OF POWER, KOKODA CRESCENT, and, most recently in THE BBQ, to name a few films. In this interview John will be discussing his part in the NUMBER 96 movie, acting, television, and his role as founder and director of The Australian Film & Television Academy (TAFTA).

Welcome to CINEMATIC REVELATIONS John!

Athan: When did you first realize that you wanted to be an actor?

John: When I was about 6 or 7 years old.

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Athan: Where did you study acting?

John: I didn’t. I began with an amateur theatre company in Perth, Western Australia and went to workshops and classes there. I read everything I could and tried to invoke “The Method”, but it really didn’t work for me. 

It actually didn’t make logical sense even though I’d read Stanislavski’s books several times.

I auditioned for NIDA in the mid 60’s and was accepted and even offered a scholarship but sadly my father got very sick and then died. And the course then was only two years full time.

During my father’s lengthy illness I was offered a role in a Shakespeare play at the then Playhouse Theatre. It was fully professional and the equivalent would be, say The Melbourne Theatre Company or the Sydney Theatre Company. So I began to work with professionals, some of whom were imported from England. My training therefore was on the job for about two years.

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Athan: Your performance in the NUMBER 96 movie as businessman Simon Carr was a finely-drawn, perceptive portrait of a man confused about his sexuality, making Simon Carr a fascinating figure. You appeared in the first year of the serial, but left thereafter. How did it feel to be asked to star in the movie version of the program?

John: I didn’t want to do it. The offer came while I was shooting Petersen in Melbourne and when I read the script I thought that they “tinkered” with the character of Simon Carr. I foolishly thought that I had some kind of ownership on the character and wasn’t prepared to play it as written. That was pretty naïve of me.

And stupid. But I eventually agreed and have not regretted it one iota.

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Athan: What did you find most exciting about the experience of making the NUMBER 96 movie?

John: Working at a pace I’d never worked before. The cast and Producers and Writers had all become my friends and it never seemed like “work”. I was to experience that again some years later when I joined the cast of Cop Shop. The camaraderie was incredible. I have many wonderful and fun stories during the show.

And even though I wasn’t a regular cast member of Number 96 it felt like I was.

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Athan: For you, what was the most demanding, but emotionally satisfying segment of filming NUMBER 96 the movie?

John: Probably the infamous kiss. I’d never kissed a man before. Not like that.

Joe and I decided we wouldn’t talk about it. Not discuss it. I didn’t talk to anybody about it and come the day every Tom, Dick and Harry came on the set. It’s ridiculous to think now how much pressure that scene was beginning to place on myself and Joe. Then we just did it. The sky didn’t fall in. The earth didn’t tremble. I remember the Director called ,”CUT” and I just turned to Joe and said something like, “You should shave more closely,” which brought laughter and a round of applause from crew and the onlookers. And then sadly it was all over and I was looking to my next job.

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Athan: In the NUMBER 96 movie there was an excellent confrontation scene between Simon Carr and Maggie Cameron, who was lamenting her loneliness, and lashed out in a drunken rage at Simon, Vera, and Don. How for you was it filming these emotionally heated scenes?

John: Bettina and I had become good friends as had Elaine and I and Joe.

During the series Bettina (Maggie) and I would often travel to Channel Ten together and we’d rehearse along the way and these scenes were a lot of fun.

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Athan: Have you kept in contact with any cast members and crew from NUMBER 96?

John: Not really. Sadly most have passed away. Elaine, Bettina, Johnny Lockwood, and Joe married and moved to Indonesia where he still is. I think. Of course I worked with Joanna Lockwood for many years after in Cop Shop.

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Athan: NUMBER 96 the movie was directed by Peter Benardos, who also directed the television version of NUMBER 96. What was it like being directed by Mr Benardos in the NUMBER 96 movie?

John: Peter was the perfect director for a fast turn-around series and when it came to the movie he was the perfect choice. No nonsense. No in-depth soul searching about where to go with a scene - Just do it. A principle that has stayed with me since. 

I loved working with him and Producer Bob Huber who became a very close friend.

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Athan: Apart from motion pictures, you have appeared in many television shows and telemovies over the years. What for you are the main differences between acting in feature films, and acting on television?

John: Pace. The speed at which things are done. In films you probably shot three to four minutes of screen time on average but in a TV Series like Number 96 or Cop Shop you probably shoot 13 to 18 minutes of screen time in a day. The attention to small details is the key in a film. On all levels not just performance.

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Athan: You have been an acting coach for many years, being the founder, and director of The Australian Film & Television Academy (TAFTA), which began in 1994 on the Gold Coast, Australia, and has grown to Melbourne, Sydney, and Adelaide. What is it about coaching students in acting that gives you the most satisfaction?

John: Watching them grow, develop and become aware of their talents. Also their ultimate success and we have had many. 

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Athan: Do you have any upcoming projects of which you would like to tell readers?

John: I am waiting on COVID to die down somewhat and I have two exciting new Australian plays that I am going to Act in and Direct. They are called REAL and Sharaf written by Michael Griffiths.

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Thank you so much today for your time John, and for the understanding you have provided into the art of acting, the NUMBER 96 movie, television, cinema, and your role as an acting coach. It has been wonderful having you on CINEMATIC REVELATIONS. You are welcome to return whenever you wish.

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John Orcsik links

+John Orcsik IMDb Actor Page

+NUMBER 96 movie IMDb page

+John Orcsik Official TAFTA Website

INTERVIEW WITH ACTRESS LYNN RAINBOW

Today I have the great pleasure of welcoming a very special guest, actress Lynn Rainbow AM, to CINEMATIC REVELATIONS for an interview. While Lynn has acted in two motion pictures over the years, being the big-screen version of NUMBER 96 [my review of the film can be found here] and the animated film SHERLOCK HOLMES AND THE SIGN OF FOUR, she has acted prolifically on Australian television. Some of Lynn’s television credits include the series version of Number 96, Homicide, Division 4, Matlock Police, A Country Practice, and Home and Away, to name a few examples. In this interview Lynn will be discussing her role in the NUMBER 96 movie, acting, being recognized for her work as a Member with the Order of Australia (AM) in 2016, and as Vice-President of the Actors & Entertainers Benevolent Fund in Brisbane, Australia.

Welcome to CINEMATIC REVELATIONS Lynn!

Athan: When did you first realize that you wanted to be an actress?

Lynn: I think it was in my DNA.  I am the fourth generation. My great grandfather John Fuller came to New Zealand from England and was known as the ‘Silver throated tenor of New Zealand. My Grandfather Sir Benjamin Fuller was a theatrical entrepreneur with his brother Johnny and created Fuller’s Theatres all around Australia and New Zealand. My mother was a dancer and her partner was Ron Shand (Herbie in Number 96).  Then there was me.  I don’t remember not performing.

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Athan: Where did you study acting?

Lynn: With Dame Doris Fitton at the Independent Theatre school, North Sydney. We were taught by the wonderful movement teacher Keith Bain, Robert Levis and Peter Summerton. Doris only paid the main 2 or 3 actors so all the smaller parts were played by the students. Also the students performed the Saturday afternoon Children’s plays. There is nothing harder than a restless young audience.

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Athan: I loved your performance as Sonia, a young woman whose husband attempted to steal her fortune by trying to drive her insane in NUMBER 96. You had left the series the previous year, and were invited back for the movie. How did it feel reprising the role of Sonia for the NUMBER 96 movie?

Lynn: Well I knew the character so well even though the circumstances were different. I had been working solidly in theatre since I left the TV series.  I remember how much fun it was to be back with the old gang. We were a very close knit unit and we were truly all good friends. By this time Tom (Oliver) and I were married. It was a very happy time.

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Athan: What did you most enjoy about the experience of filming the NUMBER 96 movie?

Lynn: Enjoy is probably not the word. Sadly, it was shot so fast like the TV series. I shot 18 scenes in one day. It was lucky I knew and understood my character. There was no time to get deep and meaningful, ‘just say your lines and don’t bump into the furniture’.

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Athan: What for you was the most demanding, but emotionally satisfying segment of making NUMBER 96?

Lynn: In the TV series it was probably the relationship and kiss I had with black dancer and actor Ronnie Arnold as it was the main reason Number96 the series could not be sold to the USA.

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Athan: Have you kept in contact with any cast members and crew from NUMBER 96?

Lynn: Oh yes! I was very close to Bettina Welch (our families shared Christmases) and darling Elaine Lee and Gordie McDougall until their deaths. Sheila Kenelly knew my second husband before me, as she bought one of his bulls and lived near us. I see Joe Hasham whenever I go up to Indonesia. Liz Kirkby and Carol Raye live in the country now, so I don’t see as much of them.  David Sale (the creator of Number96 the TV series and the film) and I are still close as he has recently moved up to Queensland.

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Athan: NUMBER 96 was directed by Peter Benardos, who also directed the series version of Number 96, and was his only feature film. What was it like being directed by Mr Benardos in the NUMBER 96 movie?

Lynn: Peter was such a nice man, a gentle director. He was under pressure to get the film done, but he knew we knew our characters and so I think he trusted us not to let him down.  Just few gentle words here and there.

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Athan: You filmed all your scenes in the NUMBER 96 movie over the course of a single day, and subsequently acted on stage in a play the same evening, which is a significant achievement. How was the experience of undertaking this for you?

Lynn: Yes, as I have said I shot 18 scenes in one day, then went straight to the theatre to play the lead Elvira in “Blythe Spirit”, which was the same night my in-laws who had just arrived from England, came to see the play!! You might say a very full day.

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Athan: You have done much stage work, and in television. What were the differences you found in acting for the screen, and in the theatre?

Lynn: I am a creature of the theatre. Film and Television technique were not taught when I was at drama school. I always felt at home on stage it was my domain and our voices (with no mics) had to reach the back stalls and the gods 6 nights and 2 matinees a week.  It is so much fun winning over an audience on a cold winters evening when you know they’d rather be at home. I never felt comfortable on camera as I felt too constricted.  I learned by watching others, by the seat of my pants really.

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Athan: You received the Order of Australia in the 2016 Queen’s Birthday Honours for ‘significant service to the community through support for a range of cultural and charitable organisations, and to the performing arts as an actor’. How did it feel to receive this tremendous honour?

Lynn: Oh, it is such an honor and such a secret to keep. You are contacted several months before, to see if you are willing to accept the Honour.  I was like a little bubbling kettle.  The strap on my shoe broke just before the ceremony at Government House in Brisbane.  The shoe was whisked away, fixed and placed back on my foot a la Cinderella before I knew it. The wonderful thing is that although you are the recipient of the Honour, it is really about all the people who have helped realise the dream. The Judge Rainbow Memorial Fund, of which I am now Patron, La Boite Theatre, The Rainbow Reid Endowment fund at Creative Industries (acting) for Artists in Residence, and of course my beloved Actors Benevolent Fund.

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Athan: You are Vice-President of the Actors & Entertainers Benevolent Fund in Brisbane, Australia. How did you become involved in the Fund? What makes you most proud of being a member of the Fund?

Lynn: It seems I have been involved with the Actors Benevolent Fund all my life. I was on the ABFNSW for two 10 year stints and another continuing stint when I moved up to Queensland. I became involved with the fund in the late sixties.  It is such a wonderful group who help their fellow performers and is totally confidential. Recently, and long overdue, we have amalgamated (while retaining each States autonomy) into the Alliance of Australasian Performing Arts Benevolent Funds, AAPABF with Cate Blanchett as our Patron. During this pandemic when so many people in the Arts are hurting, it never ceases to amaze how generous the Public is.

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Athan: Do you have any upcoming projects of which you would like to tell readers?

Lynn: Not really, just more of the same. If something new comes up.  I’ll let you know.

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Thank you so much today for your time Lynn, and for the insight you have provided into the art of acting, NUMBER 96, theatre, the Order of Australia, and the Actors & Entertainers Benevolent Fund. It has been wonderful to have you on CINEMATIC REVELATIONS. You are welcome to return whenever you wish.

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Lynn Rainbow links

+Lynn Rainbow IMDb Actor Page

+NUMBER 96 movie IMDb page

+Order of Australia page 2016 Queen's Birthday Honours

+Actors & Entertainers Benevolent Fund page Vice-President Lynn Rainbow

NUMBER 96 (1974)

Title: NUMBER 96

Year of Release: 1974

Director: Peter Benardos

Genre: Drama, Comedy

Synopsis: 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: C

Link: IMDB Page