THE COOLANGATTA GOLD (1984)

Title: THE COOLANGATTA GOLD (Alternate title: THE GOLD AND THE GLORY)

Year of Release: 1984

Director: Igor Auzins

Genre: Drama, Sport, Romance

Synopsis: Two brothers aim to compete in The Coolangatta Gold iron man race to appease their father, but he only supports the aspirations of his eldest son in this, causing a rift with his younger son.

Within a film history context: Films with a father-son conflict at their core have been in existence in cinema history since the sound era, with several notable examples. One of the first documented was F.W. Murnau's CITY GIRL (1930). In this movie, a woman marries a farmer, but has to face many difficult situations in her new life. Adding to her issues is the fact that her father-in-law refuses to accept her, this causing a wedge not only in her marriage but also, between father and son. With the exotic FIESTA (1947), directed by Richard Thorpe, a young man does not want to follow in his father's footsteps as a matador, this causing dissension between them, and complicating his sister's life in the process. Mervyn LeRoy's ANY NUMBER CAN PLAY (1949), featured Clark Gable as a casino proprietor whose activities impact not only upon his wife but also, his son, who disagrees with his father's business dealings. CONFIDENTIALLY CONNIE (1953), directed by Edward Buzzell, was of a more comic persuasion. It focused upon a college professor and his wife, and his father with whom he is at odds over the family ranch, where he does not wish to return. 

Edward Dmytryk's BROKEN LANCE (1954) followed a crusty ranch owner, and his four sons. Conflict emerges from how he treats the three older sons of his first marriage, and the very different, close relationship he shares with the youngest son from his second marriage. Western THE HALLIDAY BRAND (1957), directed by Joseph H. Lewis, concentrated upon the wrought relationship between a son and his father, who was an unorthodox sheriff who tried his best to control the lives of him and his siblings, his one son the only person able to take him on. An aristocratic take on matters was offered by Terence Young's MAYERLING (1968). An Austrian prince has a hostile relationship with his father, due in part to the patriarch's insistence on maintaining the status quo of the social order, his son holding more contemporary beliefs in 1880s Austria. Devious doings were the order of the day in THE HORROR OF FRANKENSTEIN (1970), directed by Jimmy Sangster. An utterly odious young man has a falling out with his father over his anatomy experiments, and subsequently kills him, continuing his mission to construct a body, which causes no end of grief. THE COOLANGATTA GOLD was a movie where the father-son conflict was one of the main drivers of action in the narrative.

The father-son difficulties were largely based upon the father's insecurities in THE COOLANGATTA GOLD, and how he came second in a surfing marathon in 1960. The father sees his younger son as the weak link in the family, as he is more motivated toward artistic pursuits such as being a rock band promoter, rather than an athlete. The son sees life in a less competitive manner, just wanting to do what he does, without the burden of being the best. He is constantly berated and belittled by the father, who sees the older son, and brother, as the child who will fulfill his dream of winning the surfing marathon. There are, in effect, elements of the stage father in this movie, which is far removed from the other portrayals, with fathers and sons not connecting for one reason or another.

FIESTA and CONFIDENTIALLY CONNIE had sons who did not want to continue in the life goals of their respective fathers, but THE COOLANGATTA GOLD stood out as the younger son actually wanted the love and esteem of his father, and tried to please him, but could not achieve this. The father could never see the younger son for who he was, and what he wanted out of life. In THE COOLANGATTA GOLD, it was always about what the father wanted for his sons, but not what they wanted for themselves. There was a tragic undertone to the movie where two family members could never see eye to eye, with feelings of resentment expertly depicted. It could be said that Steve in THE COOLANGATTA GOLD was similar to the son in THE HALLIDAY BRAND who tried to break away from his father's influence and carve his own identity. The use of the love interest in THE COOLANGATTA GOLD is also something which diverts from other movies with a father-son conflict.

In CITY GIRL, the father-in-law causes his new daughter-in-law many precarious moments, and, in turn, his son with the treatment of his wife. The wife in ANY NUMBER CAN PLAY is neglected by the husband for his work, and in MAYERLING, the prince has an affair with another woman to take his mind away from his loveless marriage. In THE COOLANGATTA GOLD, matters are much more subtle, and muted in tone. There is none of the melodrama which marked the other movies, but Steve and Kerri meld together in a natural way, real life and emotions making an impact on them. A backwards and forwards momentum marks their union, with Steve's personal, and professional difficulties highlighted, and Kerri's ballet obligations the issues. In addition, Steve's father views his attraction to Kerri as humorous, which is another deviation from the above movies, and view of male-female relationships, and prospective father-in-law. Steve's father does not even exchange a word with his son's love, even though he sees his son speaking with her on the beach, and at the hospital. For these reasons, offering a meaty view of father-son conflict, THE COOLANGATTA GOLD is one of the most extensive on the topic.

Overview: Igor Auzins is an Australian director who has helmed three motion pictures, being more active on television in episodic series, and telemovies. His first movie, HIGH ROLLING (1977), was a rollicking action film about the adventures of two carnival workers, with Joseph Bottoms in the lead role. Mr Auzins' second movie, WE OF THE NEVER NEVER (1982), was an historical story set in early 1900s Australia which had a warm critical reception at the time of its release. It also received a number of awards and nominations in various departments. THE COOLANGATTA GOLD was Igor Auzins' last movie, and one of his most-recognized cinematic efforts.

With THE COOLANGATTA GOLD, Igor Auzins has crafted a strong film which makes a definite impression on the emotions. Taking a deceptively simple narrative line by exploring a family, and how a father wants his eldest son to win an ironman race, effectively casting his younger son aside in the process, it keeps the spectator involved with the various viewpoints, and character desires and needs that are expressed. While there are some fiery moments, these are not forced, and come from the characters with a basis in honesty. The movie itself plays out in a naturalistic manner, eschewing obvious melodrama that can sometimes be jarring. This is one of the merits of THE COOLANGATTA GOLD, being that it is never over the top in its execution. Although the film has certain assets, it does, unfortunately, have downsides which take it down a few notches.

The first half of the movie does establish what is taking place, where, how, and why, but one wishes some sections could have been abbreviated. Several examples come to mind. The sequence where it is revealed that Steve aspires to be a rock band promoter, with the band playing a song in the background, while valuable as insight into his ambitions, is overlong. The song played also is not memorable in any way, especially when compared to a later song in the roof garden scene played by the band. The roof garden scene itself also takes too long to unravel, but the movie makes up for this with Adam's predicament, and the fallout from this. In addition, the later love scene between Steve and Kerri was a tacky 1980s segment that did absolutely nothing to further the story. As with the previously mentioned scenes, it was presumably included to be fashionable for its time, but all seem dated in retrospect. Thankfully, the second half of the movie picks up steam, and the various confrontations and character interactions are closer in proximity, making for a better film. The ending of the film is excellent, where all the pieces come together in a cohesive whole. In looking at the movie as a whole, certain things can be said about THE COOLANGATTA GOLD. It is a stirring film which deserves a higher reputation than what it has had in the past for the affecting experience it delivers to the viewer.

Acting: THE COOLANGATTA GOLD boasts fine performances from its cast which bolster its impact. In the lead role of Steve Lucas, a young man seeking to attain his father's love, but finding this an impossible task, Joss McWilliam is excellent. An actor for whom this was his debut role, he makes Steve a person of many edges, with passion, humor, anger, and sensitivity recalling the volatility James Dean displayed in his parts. As Joe, his father, and the thorn in Steve's side, Nick Tate shows why he is one of Australia's best actors. A performer adept at playing all sides of the emotional spectrum, his Joe could have been a caricature in other hands, but he manages to make him understandable and even sympathetic, despite Joe's treatment of his son. Colin Friels, as the favourite son of Joe, Adam, makes him a strong, but often silent figure in the movie. An actor who instinctively knows how to use his face and eyes, saying much in a non-verbal manner, Mr Friels is another attraction in the picture. His dance scene with Josephine Smulders' Kerri shows him an ace on the floor with his moves. Three other actors contribute great acting in the movie.

As Robyn, wife of Joe, and mother of Steve and Adam, Robyn Nevin is well-cast in a small role which she nevertheless makes the most of in the limited time she has onscreen. An actress who always brings conviction to her parts, making her characters believable to the core, she gives another viewpoint to the film, taking some attention away from the largely all-male perspective displayed. The ballerina who captures Steve's heart is given subtle treatment by Josephine Smulders. A ballerina in real-life for whom this was her only screen role, she is well-matched with Joss McWilliam, her serene and thoughtful nature a nice contrast to Steve's excitability and nerviness. The last actor of note in the film is Paul Starling as Steve's karate instructor. In real-life Mr Starling is a martial artist and karate master, and in the movie brings notes of authority and determination to his role as Steve's instructor, and closest confidant.

Soundtrack: What is most striking about musical accompaniment in THE COOLANGATTA GOLD is Bill Conti's rousing score. It is alternately quiet, passionate, spirited, and suits the story of people striving for the best they can achieve. Additionally, it provided the film with a sense of wonder and grandeur that the visuals many times lack, making up for this considerably. Aside from this, the movie has several rock and pop tunes which do not make an impression on the senses, the best of all these being 'Fraction Too Much Friction', performed by Wilbur Wilde. It functions not only in a pleasant manner, but also as a diegetic comment on the lives of its characters, particularly brothers Steve and Adam in this part of the movie. 

Mise-en-scene: What appears onscreen for viewers in THE COOLANAGATTA GOLD is one of its most problematic aspects. On the one hand, cinematography by Keith Wagstaff is crisp and clear, especially beautiful during the scenes on the beach such as the iron man race, taking advantage of the sun-drenched locations. On the other hand, the locations chosen for the movie, such as the Lucas family home and its surroundings, are unattractive, and do nothing for the film. It could be said that the family home is reflective of its characters, but visually is a liability. This, though, is symptomatic of many Australian films over the years, being how unappealing locations are spotlighted, possibly to create an image of realism, but they offer nothing but an eyesore to viewers. There is also the tendency to plunge the movie into darkness at times, such as the roof garden scene, the car park sequence, and, the private areas of the Lucas family home. Having more agreeable locales would have given the film a boost that the sets and places it utilized just do not possess. In the case of THE COOLANGATTA GOLD, these are not the best backdrop for its excellent cast, failing to serve them properly.

Notable Acting Performances: Joss McWilliam, Nick Tate, Colin Friels, Robyn Nevin, Josephine Smulders, Paul Starling.

Suitability for young viewers: Parental discretion advised. Infrequent coarse language, brief male nudity, brief female nudity, adult themes.

Overall Grade: B

Link: IMDB Page

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CAREFUL, HE MIGHT HEAR YOU (1983)

Title: CAREFUL, HE MIGHT HEAR YOU

Year of Release: 1983

Director: Carl Schultz

Genre: Drama

Synopsis: In 1930s Australia, PS, a young boy, whose mother passed away early in his life, is caught between two maternal aunts Lila and Vanessa who each seek custody of him.

Within a film history context: Films revolving around custody battles over a child between two opposing parties have been onscreen since the 1920s. One of the first documented movies about the topic was Louis Gasnier's silent film FAINT PERFUME (1925). In this movie, a couple divorce, and battle over the custody of their son, with romantic issues arising as the husband falls for his wife's cousin. More serious was John Robertson's WEDNESDAY'S CHILD (1934). A young child is a pawn between his divorced parents, and his adjustment to this new situation is fraught with difficulty. Matters were somewhat different in BRIGHT EYES (1934), directed by David Butler. With Shirley Temple in the lead role, a young orphaned girl goes to live with a wealthy family, arranged by her uncle, with her godfather vying for her custody. On the other hand, Walter Lang's CARNIVAL (1935) featured a widowed puppet master with a young child, who is sued for custody by his father-in-law, but finds difficulty eluding the determined man. Employment was the motivation for a custody battle in STEPCHILD (1947), directed by James Flood. A woman's marriage breaks up as she wants to keep her job without giving her two young sons attention. The couple divorce, and the husband gains custody of the children, with the woman wanting to stay with her husband, but he is seeking another mother figure for his children, with tenuous results. 

Larry Peerce's ONE POTATO, TWO POTATO (1964) was equally complicated. A white woman divorces her husband, and marries an African-American man, but her former husband seeks custody of their son, in light of his ex-wife's new mixed marriage. Much more extreme in content was THE LAST WOMAN (1976), directed by Marco Ferreri. A man is deserted by his wife, leaving him with an infant son. He then embarks on an affair with a young woman, but his ex-wife seeks custody of their child, the pressure of this making him castrate himself. Controversial for its male, and female nudity, and one violent scene in particular, it gave Gerard Depardieu a showy role. One of the best known films about custody battles was Robert Benton's KRAMER VS. KRAMER (1979). In this movie, a woman leaves her husband, and their young son, but later contests custody, their messy relationship, and the impact on their son the basis of the story. A highly profitable modern drama, it earned four Oscars for best picture, director, and lead actors Dustin Hoffman and Meryl Streep. CAREFUL, HE MIGHT HEAR YOU could be seen as being as intricate in nature as ONE POTATO, TWO POTATO, and as emotional as KRAMER VS. KRAMER, but otherwise carved its own unique path.

It is one of the most intensive, psychological, and stirring portraits of characters involved in a custody battle for a young child ever filmed. As with many of the films above, special mention going to KRAMER VS. KRAMER, CAREFUL, HE MIGHT HEAR YOU is a movie that takes its time in building the dramatic situations for its viewers which makes one feel for the characters, and deeply comprehend their particular mindsets. CAREFUL, HE MIGHT HEAR YOU has a serene, lush atmosphere that immeasurably assists in this; the story is never rushed, everything is presented and explained thoroughly, with no plot holes or gaps. It is a film that flows effortlessly from scene to scene without any staginess. Some moments of melodrama abound in the film which are to be expected, but these are in keeping with the action, and never out of place. There are further features of the movie that set it apart from other entries in the genre.

It is difficult as such to pinpoint a villain in CAREFUL, HE MIGHT HEAR YOU as everyone's motivations make perfect sense, thus eliminating the easy way out of stacking the cards against certain characters to make them look bad. The characters have been so well defined that they jump off the screen for their realism, their passions highly palpable to the viewer. There are no two-dimensional protagonists here to let down the proceedings, thus making the film hollow. In addition to this, the film lacks the sensational elements that distinguished THE LAST WOMAN, hence leaving a sour taste in the mouth with that movie. CAREFUL, HE MIGHT HEAR YOU is more of a slow burn narrative, the heightened scenes of drama achieved through careful story building without the need for visual excess. A dignified film that deserves its high critical reputation, CAREFUL, HE MIGHT HEAR YOU is an enriching, one of a kind movie experience.

Overview: Born in Hungary, Carl Schultz has directed seven films over his twenty-one year cinematic career, the majority Australian films, with many credits on television. His first film, BLUE FIN (1978) was a family film about a father and son involved in tuna fishing in South Australia, with Hardy Kruger in the lead role. Mr Schultz's second movie, GOODBYE PARADISE (1982) starred Ray Barrett in the story of a former policeman penning a tell-all book about police corruption on the Gold Coast, Queensland, with a string of adverse circumstances eventuating from his novel. It was also the first time Mr Schultz directed Robyn Nevin on screen in this comedic action film. BULLSEYE (1987) was an historical adventure film about a pair of friends in the 1860s who steal cattle, transporting it across Australia. 

One of Mr Schultz's most intimate films was TRAVELLING NORTH (1987). In this comedy-drama, an older couple make the move to the country, with the movie exploring their passions, marriage and life. With seasoned thespians Leo McKern and Julia Blake as the married couple, it was a touching viewing experience. Mr Schultz then made a foray into fantasy and religious themes with THE SEVENTH SIGN (1988). A pregnant woman's anticipation of her child's birth is the starting point of an intricate chain of events with many biblical overtones. Lambasted by critics, it is a complicated work with much suspense and angst to spare. Carl Schultz's final film to date is TO WALK WITH LIONS (1999). The biography of wildlife conservationist George Adamson, it was another of Mr Schultz's films with an adventure background, as was BLUE FIN. CAREFUL, HE MIGHT HEAR YOU is one of Carl Schultz's best-known motion pictures, and undeniably his crowning achievement as director.

As with TRAVELLING NORTH, Mr Schultz concentrates upon a set of characters, presenting them with all their positive traits, flaws and foibles for the audience to take in and consider. There is also the exploration of interpersonal family relationships that BLUE FIN studied to a smaller degree. Where CAREFUL, HE MIGHT HEAR YOU differs is in the utterly compelling, emotional approach to its story and characters that Mr Schultz has accomplished, across a larger number of protagonists than the other films. Viewers can thoroughly relate to, and understand where the characters are coming from, in whatever they do and say. They are three-dimensional in every respect, and never act out of character, or do things which are not true to their beliefs. 

Adapted from the auto-biographical novel of the same name by Sumner Locke Elliott, CAREFUL, HE MIGHT HEAR YOU is an emotionally charged, thoughtful viewing experience, that leaves the spectator satisfied, but also, hopeful. Mr Schultz has created an enthralling mix of drama and pathos, with some subtle comic moments that occur at just the right time, giving the film equilibrium. Always on target, never over the top as a film, it knows how to pull at the heart-strings in its richly textured manner. A fine achievement of the Australian film industry, and one of the best motion pictures ever, CAREFUL, HE MIGHT HEAR YOU is a movie that does both its director Carl Schultz, and Australian cinema, proud.

Acting: CAREFUL, HE MIGHT HEAR YOU has a top-notch cast which make the film a thoroughly vivid viewing experience. Wendy Hughes is touching as Vanessa, one of two sisters vying for custody of PS. What could have been an empty villainess in other hands is given a graceful, sympathetic treatment by the actress, making her actions understandable to the audience. As Vanessa's nemesis, and sister Lila, who also wants PS, Robyn Nevin delivers a strong, equally excellent performance. These actresses work so well together that their animosity fuels the movie, and is one of its many strong points. As PS, the object of everyone's attention, Nicholas Gledhill gives a wonderful account of a strong-willed young boy caught within a tangled web of adult emotions, and many of his own. Impressive given the actor's very young age at the time of the film's production, Mr Gledhill played PS as the innocent, the mischief-maker, and the child seeking to carve his own identity. Supporting roles have also been furnished exceedingly well in CAREFUL, HE MIGHT HEAR YOU.

Geraldine Turner, as Vere, Lila's neighborhood friend, adds her unique personality to the film. An actress adept as being alternately brassy, strong and empathetic, with a wonderfully bawdy nature, Miss Turner lights up the screen in the limited time she has on camera. John Hargreaves, as Logan, also adds his distinctive persona to CAREFUL, HE MIGHT HEAR YOU. While retaining some of his easy-going nature in this film which is on display in his other movies, Mr Hargreaves adds a sympathetic note to the role of the wayward wanderer, with a nice dose of unexpected urbanity that suits him. The final acting of note in CAREFUL, HE MIGHT HEAR YOU was by Peter Whitford as George. Paired well with Robyn Nevin's Lila, Mr Whitford brings his pained George to life, most tellingly during his most emotional scenes, which are haunting to witness. 

Soundtrack: The instrumental score composed by Ray Cook enhances what is taking place on screen immeasurably, without ever being syrupy or overdone. Background music is played throughout CAREFUL, ME MIGHT HEAR YOU, and especially at key moments such as Lila and Vanessa's limousine confrontation, to maximum emotional effect.

Mise-en-scene: Everything presented in front of the camera for viewers makes CAREFUL, ME MIGHT HEAR YOU an authentic movie experience. Costuming by Bruce Finlayson is on target, suited to the characters. The designer makes evident differences in characters' socio-economic levels, with Vanessa's elaborate wardrobe a telling contrast to Lila's more down-to-earth clothing, reflecting her working-class status. Cinematography by John Seale employs a subtle use of colour, ideal for a film set in the 1930s. While the film is visually beautiful, the muted colour assists in capturing life in 1930s Australia without ever being harsh on the eyes. Brighter colour hues would not have assisted the movie, as it is not a technicolor musical, and would consequently have been detrimental. Use of colour in CAREFUL, HE MIGHT HEAR YOU is soft, and appropriate for a film that explores emotions in such a profound manner.

Award-worthy performances in my opinion: Wendy Hughes, Robyn Nevin, Nicholas Gledhill, Geraldine Turner, John Hargreaves, Peter Whitford.

Suitability for young viewers: Suitable for children with adult discretion. Adult themes, low-level violence.

Overall Grade: A

Link: IMDB Page

Trailer