I've recently been researching 'Mavis' for Wikipedia and it's a fascinating subject, albeit on that is woefully short on hard facts -- there's tragically little information about the production history. However, I'm pleased to report (re: the comments above by joliy) that a large number of programs from the 1964-66 period -- including the pilot episode -- have survived, and these are now preserved in the National Film & Sound Archive in Canberra. Sadly though it seems that little from the 1967-68 period has survived, probably because Seven was by then using videotape to record the show rather than the old telecine process, in which the show was captured from a monitor on 16mm film. I was also fascinating to learn that the late great Ron Frazer is now being acknowledged as the person responsible for popularising the term "ocker", thanks to his character of that name in the series. There are a few brief sketches that can be viewed on YouTube - Al Thomas does a wicked Julius Sumner Miller impression, and I especially like the "Golf Girls" sketch with Noeline, June and Arlene Dorgan -- there's a classic put-down during that routine where Noeline describes Arlenes golf slacks viewed from behind as looking like "two koalas trying to escape from a beanbag"! Hopefully somewhere down the track the NFSA will be able to put together a compilation of the best bits, so that younger generations can see what all the fuss was about.
Reviews
8 Reviews
Stunning, superb, must-see - an American classic.
16 May 2004
Probably the best American film since "Fight Club". Kaufman is a genius, and along with David Fincher he has to be one of the most original and creative people working in mainstream American cinema today. This has to be his masterpiece.
Contrary to what some other reviewers feel, I believe that this is a VERY deep movie, and very disturbing in many ways. By the time the credits were rolling I found myself saying out loud "This is probably the most intelligent American movie I've ever seen." and that's not something I usually think after seeing a mainstream Hollywood feature.
I'm not at all scared by horror or thriller movies, but I literally had nightmares after watching this. Maybe I was more open to its message, having just lost a parent, but I found the way it approached its major themes -- love, memory, identity and loss, the power of science -- incredibly moving and deeply affecting, and yet it was so brilliantly handled, structurally dazzling, full of mordant humour, and moved along at such a cracking pace that the whole film felt about 1/2-hour long to me.
It's also -- despite what others have said -- a tour-de-force example of how CGI can be used well -- to create some profoundly unsettling visual imagery, very Freudian in parts -- a veritable blitzkrieg of surreal images, yet I never felt that (a la Star Wars) it was just technophilia.
Some of the scenes had truly chilling overtones -- the "winking out" of the people in the scene in the concourse at Grand Central Station; the fading covers of the books, Lacuna's systematic removal of all physical traces of the people being erased; the sinister banality of the staff, "just doing their job" -- and not very well at that -- as they go about the task of erasing people's memories. If Lacuna doesn't remind you of all those poor Russians who were rendered "non persons" by the KGB's patient, mundane, bureaucracy I think you're missing something.
I cannot recommend this film too highly and I firmly believe it will come to be regarded as one of the best American films ever made.
Contrary to what some other reviewers feel, I believe that this is a VERY deep movie, and very disturbing in many ways. By the time the credits were rolling I found myself saying out loud "This is probably the most intelligent American movie I've ever seen." and that's not something I usually think after seeing a mainstream Hollywood feature.
I'm not at all scared by horror or thriller movies, but I literally had nightmares after watching this. Maybe I was more open to its message, having just lost a parent, but I found the way it approached its major themes -- love, memory, identity and loss, the power of science -- incredibly moving and deeply affecting, and yet it was so brilliantly handled, structurally dazzling, full of mordant humour, and moved along at such a cracking pace that the whole film felt about 1/2-hour long to me.
It's also -- despite what others have said -- a tour-de-force example of how CGI can be used well -- to create some profoundly unsettling visual imagery, very Freudian in parts -- a veritable blitzkrieg of surreal images, yet I never felt that (a la Star Wars) it was just technophilia.
Some of the scenes had truly chilling overtones -- the "winking out" of the people in the scene in the concourse at Grand Central Station; the fading covers of the books, Lacuna's systematic removal of all physical traces of the people being erased; the sinister banality of the staff, "just doing their job" -- and not very well at that -- as they go about the task of erasing people's memories. If Lacuna doesn't remind you of all those poor Russians who were rendered "non persons" by the KGB's patient, mundane, bureaucracy I think you're missing something.
I cannot recommend this film too highly and I firmly believe it will come to be regarded as one of the best American films ever made.
Fresno
(1986)
"Oh what a tangled web we weave, eh, Juan?"
27 April 2004
I can only second all the preceding calls that this masterpiece of modern American comedy be issued on DVD. It was shown here in Australia in the late 80s and missed by most, but I was lucky enough to see it and it remains a cherished memory. My girlfriend (now wife) and I and all our flatmates laughed our guts out at the time, but how dearly I wish now that I'd kept the videotape!
I loved the whole cast, Carol really shines, must be her best comedy part ever IMO; the whole team is totally spot-on; this was my second major sighting of Bill Paxton, who's very funny indeed, and it's all done with such a straight face, a twinkle in the eye and *perfect* timing. Dabney Coleman at his hilarious, magnificent, slimy best best ... Charles Grodin (also a personal best IMO) hamming it up magnificently as the petulant Cane, Teri Garr fantastically funny as uber-bitch Talon ... Gregory Harrison perfect as the the mega-dumb Torch, who literally does not have his shirt on for one single shot in the entire show ... Valerie Mahaffey *wonderful* as the oh-so-dim Tiffany. The shot that stays in my mind is Carol's sidesplitting look of non-plussed resignation as she clambers into the back of the station wagon.
The script is brilliant, funny in its own right as well as striking its targets with perfect accuracy -- anyone who has ever watched any of the daytime or primetime soapies will squeal with laughter. It stripmines the entire genre for send-ups -- the overacting, the improbable shots and set-ups, the overblown emotions, the ridiculous names, the unbelievable plots and coincidences, the flouncy 'rivalry' between the antagonists, the gordian interpersonal relationships ... the whole Armenian name shtick ... oh I could go on for ages ...
It's really sad that this hasn't kicked on and attracted the kind of following that similar efforts like 'Soapdish' enjoy, because it's every bit as good.
I can only conclude by appealing: CBS - PLEASE issue this wonderful show on DVD RIGHT NOW!!!!!!! I've been waiting nearly 20 years - we all wanna see it. What's up? Don't you want the money???
I loved the whole cast, Carol really shines, must be her best comedy part ever IMO; the whole team is totally spot-on; this was my second major sighting of Bill Paxton, who's very funny indeed, and it's all done with such a straight face, a twinkle in the eye and *perfect* timing. Dabney Coleman at his hilarious, magnificent, slimy best best ... Charles Grodin (also a personal best IMO) hamming it up magnificently as the petulant Cane, Teri Garr fantastically funny as uber-bitch Talon ... Gregory Harrison perfect as the the mega-dumb Torch, who literally does not have his shirt on for one single shot in the entire show ... Valerie Mahaffey *wonderful* as the oh-so-dim Tiffany. The shot that stays in my mind is Carol's sidesplitting look of non-plussed resignation as she clambers into the back of the station wagon.
The script is brilliant, funny in its own right as well as striking its targets with perfect accuracy -- anyone who has ever watched any of the daytime or primetime soapies will squeal with laughter. It stripmines the entire genre for send-ups -- the overacting, the improbable shots and set-ups, the overblown emotions, the ridiculous names, the unbelievable plots and coincidences, the flouncy 'rivalry' between the antagonists, the gordian interpersonal relationships ... the whole Armenian name shtick ... oh I could go on for ages ...
It's really sad that this hasn't kicked on and attracted the kind of following that similar efforts like 'Soapdish' enjoy, because it's every bit as good.
I can only conclude by appealing: CBS - PLEASE issue this wonderful show on DVD RIGHT NOW!!!!!!! I've been waiting nearly 20 years - we all wanna see it. What's up? Don't you want the money???
Planet of the Apes
(2001)
It's actually pretty good - give it a go
8 January 2004
I was dreading it, but contrary to most of the commentators, I rather liked Burton's remake. I was expecting the worst (especially since I had originally heard that Arnie was to star) but I was pleasantly surprised. Remaking such an icon is a big ask at the best of times, and Burton does his best, bringing his typical dark edge to the film, but he apparently had to battle the studio every inch of the way, and the interference shows in the lack of overall cohesion.
That being said, the film has many great aspects. Danny Elfman, as always, excels with his score, and the opening title music is superb (turn it up LOUD!); this is no mean feat since the POTA1 score by the great Jerry Goldsmith is one of THE great film scores.
If for no other reason, this film is worth seeing for Tim Roth's bravura performance. He steals the picture as the ape general, Thade, imbuing the character (and the excellent makeup) with a performance of such mailicious psycopathy that he'd have undoubtedly been nominated for an Oscar it he had been playing a character in a gangster film.
Mark Wahlberg is a likeable screen presence and getting better, though hardly a 'great' actor, but with talent like Roth and Bonham Carter alongside him, even in the ape makeup they tend to dominate. He's a somewhat stolid performer and as noted elsewhere, he pretty much plays the angry-intense thing most of the time, but that's basically all he has to do here, and the real stars are the apes anyway.
Design, makeup and SFX are great, much lusher and more detailed than the rather spartan California look of the original. Some people were obviously very disappointed by the ending, and there's no way even Burton could have topped the original in that respect. There's a lot of humour too, and some very funny references to the original (Chuck Heston's uncredited cameo is great).
No, it's not the greatest sci-fi film ever made, and no, it's obviously not even the film Tim Burton wanted to make, but in spite of all the fiddling and the disappointing aspects, it's still a diverting and often entertaining watch. I've certainly seen MUCH worse.
That being said, the film has many great aspects. Danny Elfman, as always, excels with his score, and the opening title music is superb (turn it up LOUD!); this is no mean feat since the POTA1 score by the great Jerry Goldsmith is one of THE great film scores.
If for no other reason, this film is worth seeing for Tim Roth's bravura performance. He steals the picture as the ape general, Thade, imbuing the character (and the excellent makeup) with a performance of such mailicious psycopathy that he'd have undoubtedly been nominated for an Oscar it he had been playing a character in a gangster film.
Mark Wahlberg is a likeable screen presence and getting better, though hardly a 'great' actor, but with talent like Roth and Bonham Carter alongside him, even in the ape makeup they tend to dominate. He's a somewhat stolid performer and as noted elsewhere, he pretty much plays the angry-intense thing most of the time, but that's basically all he has to do here, and the real stars are the apes anyway.
Design, makeup and SFX are great, much lusher and more detailed than the rather spartan California look of the original. Some people were obviously very disappointed by the ending, and there's no way even Burton could have topped the original in that respect. There's a lot of humour too, and some very funny references to the original (Chuck Heston's uncredited cameo is great).
No, it's not the greatest sci-fi film ever made, and no, it's obviously not even the film Tim Burton wanted to make, but in spite of all the fiddling and the disappointing aspects, it's still a diverting and often entertaining watch. I've certainly seen MUCH worse.
The Queen of Spades
(1949)
10/10 - a timeless masterpiece
4 July 2002
Adapted from a short story by Pushkin, this brilliant film is far too rarely seen or mentioned, which is tragic, because it is without question one of the best British films ever made.
I was fortunate enough to see it on cable, where by coincidence it was shown right after 'The Third Man' and just before another Brtish b/w masterpiece, 'The Haunting' -- what a triple bill! In fact there are several connections between QOS and 'The Haunting', including Jack Clayton, who produced the former and directed the latter, and composer Georges Auric, who scored both. There are also close connections with The Archers (Powell & Pressberger) -- Anton Walbrook featured in three P&P films, and co-writer Rodney Ackland also scripted one of those films, P&P's '49th Parallel'.
Watching 'Queen Of Spades' it's obvious that many of the team who made it learned their craft in the silent era -- lighting, costumes, set design and cinematography are all fantastic, and though on a slightly smaller and more restrained scale, QOS is almost on a par with Von Sternberg's baroque masterpiece 'The Scarlett Empress'.
Brilliantly directed by Torold Dickinson (who also did 'Gaslight', in which Walbrook also features), the incredible, wildly expressionistic b/w cinematography is by legendary Czech-born DOP Otto Heller, who began his career in 1922(!) and who also shot Olivier's 'Richard III', 'The Ladykillers', Powell's 'Peeping Tom' and those three classic Michael Caine films of the 60s, The 'Ipcress File', 'Alfie' and 'Funeral In Berlin.'
The casting is perfect, and it's easy to see why Anton Walbrook was one of Michael Powell's favourite actors. His portrayal of the odious Suvorin is a tour de force, and he is matched by the great Edith Evans as the Countess. The crucial scene in which Suvorin tries unsuccessfully to beg, cajole, and finally force the secret of the cards from the Countess is truly electrifying -- Walbrook is absolutely rivetting, and Evans -- who has no lines and plays the scene only with her eyes -- shows why she was considered one the greatest actors of her generation. The climax of that scene, the look of stark horror on Walbrook's face, is one of the most powerful film moments I've ever seen, perhaps only surpassed by incredible card-game scene at the end of the film.
I was fortunate enough to see it on cable, where by coincidence it was shown right after 'The Third Man' and just before another Brtish b/w masterpiece, 'The Haunting' -- what a triple bill! In fact there are several connections between QOS and 'The Haunting', including Jack Clayton, who produced the former and directed the latter, and composer Georges Auric, who scored both. There are also close connections with The Archers (Powell & Pressberger) -- Anton Walbrook featured in three P&P films, and co-writer Rodney Ackland also scripted one of those films, P&P's '49th Parallel'.
Watching 'Queen Of Spades' it's obvious that many of the team who made it learned their craft in the silent era -- lighting, costumes, set design and cinematography are all fantastic, and though on a slightly smaller and more restrained scale, QOS is almost on a par with Von Sternberg's baroque masterpiece 'The Scarlett Empress'.
Brilliantly directed by Torold Dickinson (who also did 'Gaslight', in which Walbrook also features), the incredible, wildly expressionistic b/w cinematography is by legendary Czech-born DOP Otto Heller, who began his career in 1922(!) and who also shot Olivier's 'Richard III', 'The Ladykillers', Powell's 'Peeping Tom' and those three classic Michael Caine films of the 60s, The 'Ipcress File', 'Alfie' and 'Funeral In Berlin.'
The casting is perfect, and it's easy to see why Anton Walbrook was one of Michael Powell's favourite actors. His portrayal of the odious Suvorin is a tour de force, and he is matched by the great Edith Evans as the Countess. The crucial scene in which Suvorin tries unsuccessfully to beg, cajole, and finally force the secret of the cards from the Countess is truly electrifying -- Walbrook is absolutely rivetting, and Evans -- who has no lines and plays the scene only with her eyes -- shows why she was considered one the greatest actors of her generation. The climax of that scene, the look of stark horror on Walbrook's face, is one of the most powerful film moments I've ever seen, perhaps only surpassed by incredible card-game scene at the end of the film.
This Won't Hurt a Bit
(1993)
A very funny caper film
31 January 2001
Caveat: this film is not recommended for anyone contemplating a visit to the dentist!
This pacy, funny, sweet, very offbeat black comedy is a hidden gem. It probably only lasted days at the cinema (I found it on cable) but is definitely worth seeing if you like your comedy left-field, like "Office Space" or "The Magic Christian".
Greig Pickhaver (a legend to most Aussies for his satirical TV and radio persona, H.G. Nelson) is great as the barking-mad-but-cunning Gordon Fairweather. A failed dental student, Gordon neatly sidesteps his lack of qual's by heading to London, and setting out his shingle there. This supposed loser finds the goose that lays golden eggs when he discovers a way to swindle the National Health -- bigtime. His hilariously slipshod "treatment" of his patients will make you cringe as much as you laugh (that tooth thing never fails!)
Jaqueline McKenzie gives a brilliant and very different performance as his endearingly daggy English girlfriend, showing again what a talented and versatile actress she is. Great supporting cast too, including Alwyn Kurts in one of his last roles.
8/10
This pacy, funny, sweet, very offbeat black comedy is a hidden gem. It probably only lasted days at the cinema (I found it on cable) but is definitely worth seeing if you like your comedy left-field, like "Office Space" or "The Magic Christian".
Greig Pickhaver (a legend to most Aussies for his satirical TV and radio persona, H.G. Nelson) is great as the barking-mad-but-cunning Gordon Fairweather. A failed dental student, Gordon neatly sidesteps his lack of qual's by heading to London, and setting out his shingle there. This supposed loser finds the goose that lays golden eggs when he discovers a way to swindle the National Health -- bigtime. His hilariously slipshod "treatment" of his patients will make you cringe as much as you laugh (that tooth thing never fails!)
Jaqueline McKenzie gives a brilliant and very different performance as his endearingly daggy English girlfriend, showing again what a talented and versatile actress she is. Great supporting cast too, including Alwyn Kurts in one of his last roles.
8/10
Evil Roy Slade
(1972 TV Movie)
Brilliant western satire
2 November 1998
I totally agree with Rob's comments - it's a shame this classic comedy is not better known. The film is crammed with great lines and gags. This *must* have been a major influence on Mel Brooks' "Blazing Saddles". The opening song and montage depicting Evil Roy's childhood is hilarious, as is the way someone always says "Was that the door?" whenever singing Sheriff Bing Bell says his name, and the "Stubby Index Finger" song brought tears to my eyes. Can't recommend it too highly. The follow-up film "The Brothers O'Toole" is in a similar vein and also well worth seeing.
Bliss
(1985)
Perfect!
29 September 1998
Ray Lawrence's adaptation of Peter Carey's novel is one of those rare birds - a perfect screen adaptation of a great book.
Harry Joy, an advertising executive, has a near-fatal heart attack - but when he recovers he is convinced he is in hell. And why not? His bitchy wife is having a torrid affair right under his nose, his son is trading drugs for sex with his own sister, and his ad agency represents the most destructive and polluting companies in town. Harry's life spirals out of control until he breaks away from his awful family and finds redemption in his love for the beautiful Honey Barbara.
Filled with extraordinary images, the film captures the surreal mood, the sense of hidden menace and the outrageous black humour of Carey's book, and brings the characters vividly to life.
Barry Otto, one of Australia's greatest actors, is perfect as Harry and he is brilliantly supported by an outstanding cast, including Lynette Curran as his horrible wife, Miles Buchanan as his evil and depraved son, Gia Carides as the daughter, and especially Helen Jones as his hippy 'innamorata', Honey Barbara.
If you can find it, the longer "director's cut" version is a must-see, for the amazing police-station scene - inexplicably removed from the initial release version - where Harry, under arrest after a series of bizarre and hilarious incidents, transfixes the cops with one of his famous stories. Barry Otto delivers an electrifying monologue, in one long, unedited scene, with the camera gradually pulling closer and closer to an extreme closeup of his face.
"Bliss" is director Ray Lawrence's only feature film to date - but one perfect film is better than ten duds!
Harry Joy, an advertising executive, has a near-fatal heart attack - but when he recovers he is convinced he is in hell. And why not? His bitchy wife is having a torrid affair right under his nose, his son is trading drugs for sex with his own sister, and his ad agency represents the most destructive and polluting companies in town. Harry's life spirals out of control until he breaks away from his awful family and finds redemption in his love for the beautiful Honey Barbara.
Filled with extraordinary images, the film captures the surreal mood, the sense of hidden menace and the outrageous black humour of Carey's book, and brings the characters vividly to life.
Barry Otto, one of Australia's greatest actors, is perfect as Harry and he is brilliantly supported by an outstanding cast, including Lynette Curran as his horrible wife, Miles Buchanan as his evil and depraved son, Gia Carides as the daughter, and especially Helen Jones as his hippy 'innamorata', Honey Barbara.
If you can find it, the longer "director's cut" version is a must-see, for the amazing police-station scene - inexplicably removed from the initial release version - where Harry, under arrest after a series of bizarre and hilarious incidents, transfixes the cops with one of his famous stories. Barry Otto delivers an electrifying monologue, in one long, unedited scene, with the camera gradually pulling closer and closer to an extreme closeup of his face.
"Bliss" is director Ray Lawrence's only feature film to date - but one perfect film is better than ten duds!
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