MURRAY FAHEY PRODUCER/DIRECTOR"Murray Fahey’s low budget mockumentary style film is a tongue in cheek look at the Australian species. According to the Macquarie Dictionary, a dag is an untidy, slovenly person who, while neat in appearance and conservative in manners, lacks style or panache. Other references to dag, include the wool on a sheep’s rear quarters, often dirty with mud and excreta. So from the dictionary alone, the inference is clear - here is a parody of the average Aus-strine, dirty washing and all. Shot in similar vein to This Is Spinal Tap and Waiting For Guffman, this naughty, offensive, absurdly entertaining film brings the same type of character to life that The Castle successfully did, with blatant truths, amusing plays on profanities and slapstick played out in the most ridiculous situations. According to the film, a male dag likes football, sex and procreation, while the female dag indulges in fashion, music and furry upper lips. The explanations are illogical, the humour base, yet there is a rough appeal about Dags, which canvases issues of unemployment, eating fast food, kidnapping and the pressure of getting married, with humour and a sense of the absurd. Laughter is the best medicine, and while this is rough and uncouth, it’s as strine as it gets, and showcases Aussie humour frankly and without frills."
Rating: 2 1/2 Stars Libido (Fred Schepisi, Tim Burstall, John B. Murray, David Baker, 1973, Australia)
Running time: 117 minutes
Modern Australian cinema appropriately enough has it origins in sex but with two branches, the bawdy romps of Stork and Alvin Purple and the more refined, literary concerns of Picnic At Hanging Rock and The Devil’s Playground. This film belongs to latter stream. Emanating from the Victorian branch of the Producers and Directors Guild of which John Murray, who had directed the pioneering The Naked Bunyip (1970), was an executive member, it was intended as a workshop film and showcases the work of many of the early players in the industry on both sides of the camera. Made up of four separate stories, Murray directs The Husband, a Craig McGregor penned, Mike Nicols-ish look at contemporary “liberated” marriage, whilst Tim Burstall takes on the only historical piece, a dark tale of awakening sexuality written by Hal Porter. Fred Schepisi (then trading as Fred A. Schepisi) joins Thomas Kenneally in a kind of precursor to The Devil’s Playground, giving the latter’s wordy, theatrical script a striking, although perhaps excessively fluid, visual treatment and David Baker directs a typical David Williamson look at ocker culture with the unlikely pairing of Jack Thompson and Max Gillies in an episode which steers more to the Alvin Purple side of things but does provide some relief to the overall seriousness of the film. BH
1967, B&W, 24mins
Producer Michael Landy
Director Brian Kavanagh
DOP Bruce McNaughton
This 24-minute pilot for a proposed television series features the musical stylings of Australian pop’s premier band of the moment, directed with a wacky Dick Lester/Monkees sensibility by Brian Kavanagh. Features fondly remembered comedienne Mary Hardy and Ronnie Burns, and a songlist including ‘Cathy Come Home’ and the unforgettable ‘9.50’, recorded at Abbey Road. Film courtesy of Brian Kavanagh. Print sourced from the NFSA collection.
Lost for over 40 years this is The Twilights from their "Once Upon A Twilight" pilot TV programme that never made it to air.
Cathy Come Home was recorded in Nov. 1967 and written by Terry Britten (Devil Woman, What's Love Got To Do With It, We Don't Need Another Hero, etc.) .Terry is the lead guitarist seen here wearing sandles for whatever reason?
All of you who saw the Twilights "live" in the 60's will probably get goose bumps watching this. Enjoy!
Documetary series 6x30 minutes.
The history behind London's statues and the events and people portrayed.
Sometimes it just gets to be too much for a man. One day, successful mining engineer Martin Brown packs it in, leaving behind his wife and family and heading for a rural idyll in the hinterlands. Despite his best efforts to escape from the hurly-burly of competitive life, he must fend off the efforts of his greedy former boss to acquire the lush horse-farming estate he has wound up on. Curiously, his abandoned wife doesn't put up much of a fuss over his absence but seems most concerned about his rejection of the prevailing culture's values. ~ Clarke Fountain, All Movie Guide