******** A wonderful hand played
5 August 2014 | by videorama-759-859391 (adelaide, australia) – See all my reviews
Double Deal is a tight plotted out of the realm Oz films, which to be honest, I really love. It's sexy, dangerous, thrilling, and so perfectly cast, with great French import Jordan, at his baddest best. Angela Punch Mcgregor has never looked so hot. She's a bored rich housewife married to player Jordan. A dark, handsome and little menacing stranger (Comber), walks into her life. She goes off with him, where they rob country banks, Comber becoming more menacing but intriguing as you really don't know what to make of his inner self. Also he and Mcgregor have concocted a plan of kidnapping and ransom, for Jordan to pay a healthy amount to get his loved one back. But honestly there's no love between this unhappy couple. The less said about this one the better. Yes there are some some jaw dropping twists in this and this one's better than a lot of other oz films. It's sad this one hasn't got the exposure it so rightly deserves. The last scene is one of depressing irony, if that was one of inevitable fate. Really this is one of those movie's with it's own style and chooses to walk it's own beat, if somehow, not keeping with it's own rhythm of Australian type films, but it's a rhythm I love. http://www.imdb.com/title/tt0082285
********** Engaging Story + Surprising Twist
10 April 2016
I sought this film for quite a long time. Finally, I own a copy and have watched it twice. It was worth the wait.
Peter Sterling (the incomparable Louis Jourdan) and his wife Christine (Angela Punch McGregor) are bored with the state of their lives, particularly with one another. Christine is especially bored and longs for adventure and excitement. After all, Peter is a butterfly collector, and Christine feels like one of his pretty possessions.
Excitement comes in the form on a stranger, a nameless young man (Warwick Comber). Christine gets adventure and excitement, all right--and much more. The ending provides a twist that is brilliant and unexpected.
Brian Kavanagh wrote and directed this film, and his craft is evident. Kavanagh is a published novelist, so his ability to create intriguing, thrilling, engaging, and entertaining stories and characters is well known.
If you can locate a copy of "Double Deal," by all means grab it. You will not be disappointed.
1981 • AUSTRALIA • Filmco Australia etal
Brian Kavanagh • col • 90 min
The law of diminishing returns pertains to this thriller, which has so many twists that none of them will surprise you after the first reel. Still, a tense time may be had by all, including a philandering executive (Louis Jourdan) and his fashion model wife (Angela Punch McGregor), who decides to have her own bit on the side in the shape of a silver-suited dispatch rider (Warwick Comber). She'll live - or will she? - to regret it.
THE GOOD FILM & VIDEO GUIDE.
NINE AFI NOMINATIONS
AFI BEST SUPPORTING ACTRESS
MAYBE THIS TIME
"The Comedy of manners is a rare and unexpected event in contemporary cinema. This most difficult of comic forms would scare even the most courageous filmmaker - but producer; Brian Kavanagh, aided by a vibrant and uneven script by Anne Brooksbank and Bob Ellis, comes as close to real success as anything our industry has managed so far."
"Yet the successes are many, and this film joins the moving realism of Stir and the competent courtroom ethic of Breaker Morant as a trilogy of films through which we can begin to explore the drama of living in the 1980's".
Rod Bishop and Fiona Mackie
CINEMA PAPERS August 1980.
MAYBE THIS TIME TO BE RESTORED AND RE-RELEASED.
the devils playgound AFI NOMINATION BEST EDITING
The Devil's Playground
Australia (1976): Drama
107 min, No rating, Color
The Marist Brothers at the Catholic seminary around which most of the film is set seem to be looking into themselves, puzzled and deeply disappointed by their own physicality. And the pubescent boys gaze with thunderstruck eyes at the eruptions of their bodies. This semi-autobiographical first feature by the Australian writer-director Fred Schepisi is always on the borderline of comedy, because they have all-monks and seminarians alike-been taught that "an undisciplined mind is the Devil's playground," yet they can't get their minds off their bodies. This isn't an anti-Catholic movie. Far from it. Schepisi loves these tormented comedians. But he looks at them with humorous pagan eyes. His passionate feelings are expressed visually-in his thematic use of water imagery and in the vibrancy of his color, which eroticizes the environment. He's a great filmmaker, with his own softly rhythmed style. You feel he's got the whole thing right. With the novelist Thomas Keneally as the bald and bewhiskered Father Marshall, Arthur Dignam as Brother Francine, who dreams of being underwater, surrounded by beautiful naked nymphs, and Nick Tate as Brother Victor, who goes into the city wearing civvies, picks up two women and flirts and teases right up to the verge of actual sex, and then escapes, gasping, "They nearly had me."
Pauline Kael. NY.
MURRAY FAHEY PRODUCER/DIRECTOR
Although Fahey's second film, Encounters, has many a driving scene in it, it is not a road movie. Encounters is the story of Madeline (Kate Raison) and Martin (Martin Sacks), a married couple in crisis.
Madeline, an heiress, has been experiencing flash-backs to her early childhood years and her little brother's death. Martin tries through home-spun psychiatry to help her through the horror and guilt of her repressed feelings. Together, they decide that the best plan of action is to re-visit the house where Madeline grew up.
They take to the road and expect to be at the country house by lunchtime, but a couple of detours lead the couple into uncharted territory. Madeline has persistent hallucinations, visions and anxiety, while Martin is at the end of his tether trying to deal with his fragile wife.
A trip to a near-by waterfall turns to disaster. Enter Harris (Martin Vaughan), a shady figure from Madeline's past. She feels she cannot trust him, although he is the only one there for her in the dead of the rainy night.
Tension builds as the evidence against Harris builds, but is Madeline in the right frame of mind to be judging anyone?
Encounters has a somewhat familiar ending, one that serves its purpose well and one that maybe not all will recognize.
CINEMA PAPERS • JULY 1997