George Miller

Filmmaker Mark Hartley explores Australia's hidden genre in this documentary that casually casts aside "official" film history to celebrate the demented genius of director Brian Trenchard-Smith, and the exciting wave of little-known but supremely entertaining films that entertained adventurous Australian filmgoers throughout the 1970s and '80s. Every film student worth his or her weight in celluloid has seen Breaker Morant and Picnic at Hanging Rock, but what about the lesser-known gems that didn't make the film-school textbooks? In his forward to Tim Lucas' book Mario Bava: All the Colors of the Dark, director Martin Scorsese states, "We have to keep resisting the idea of official film history, a stately procession of 'important works' that leaves some of the most exciting films and filmmakers tucked away in the shadows." In this documentary, director Hartley explores the films forgotten by "official film history" with the comprehensive eye of a true film buff. As a child watching such films as Snapshot and The Man from Hong Kong, Hartley immediately recognized how wildly disparate they were in tone and execution from the films that comprised Australia's traditional film library. Appearing like American genre films that just happened to be shot in Australia and cast with Australian actors, these so-called "Ozploitation" flicks flourished in the wake of relaxed censorship laws down under. Yet despite constant chatter about the "new wave" of Australian cinema, financially successful films like The Man from Hong Kong and Patrick that were popular both at home and abroad were never mentioned, sneeringly dismissed as "genre" films rather than Australian films. Perhaps in the wake of such successful Australian films as Wolf Creek and Undead -- and looking ahead to such films as the slasher shocker Storm Warning and the eagerly anticipated remake of Long Weekend -- curious filmgoers are finally prepared to discover what they've been missing all these years. ~ Jason Buchanan, All Movie Guide

The 1995 Academy award-winning film Babe was Australian-made and featured the latest in talking animal anima-tronics. It told the heart-warming story of a sheepherding pig named Babe and his rise to community fame. The film was a tremendous hit, both financially and critically. Babe: Pig in the City is the higher budgeted American-made sequel that picks up where the original left off. It was directed by George Miller (Mad Max trilogy) who produced the original Babe film, and received a lot of criticism for being much darker than the original. The story owes more to George Orwell's Animal Farm or Charles Dickens' Oliver Twist than the original film. Having triumphed at the National Sheepdog trials, Babe returns home a hero. But after farmer Hoggett (James Cromwell) suffers from a farming accident, Mrs. Hoggett, a naive portly woman, is left to work the ranch alone. It's not long before the bank comes knocking. Desperate to save her farm from foreclosure, she accepts an offer for Babe to perform his sheepherding abilities at an overseas state fair. Babe, Mrs. Hoggett, Ferdinand the duck, and the singing mice travel across the ocean to a surreal metropolis, where they suddenly become stranded and separated. Soon Babe is performing with circus apes, being chased by wild strays (sounding a lot like Marlon Brando in The Godfather), and making a new wheelchair-bound canine friend (voiced by Adam Goldberg). He also is anointed leader of the animal community. What Babe lacks in street smarts he makes up for in honest goodness as he teaches audiences yet again that "an unprejudiced heart can mend a broken world." ~ Arthur Borman, All Movie Guide

This documentary is one of a series put together by the British Film Institute which is called Century of Cinema, detailing the history of moviemaking around the world. This one was put together by director George Miller (Mad Max) and operates under the premise that filmmaking is for the modern Australian what the ancient storyline songs were for the tribal Aborigines. While the premise is not convincingly developed, the fascinating history of Australian filmmaking is shown, with appropriate clips from the films under discussion. Purists were reportedly distressed that some film clips included were not "letterboxed," but otherwise found this documentary to be both informative and interesting. ~ Clarke Fountain, All Movie Guide

This narcissistic and sometimes painfully analytical Australian film took ten years to make. It is essentially the diary of film editor Robert Gibson and included in the tale are scenes from his professional and personal life, with a special emphasis on his complex relationships with women, who agreed to let him make this film, and who frequently offer their own take on the events chronicled. First there is April with whom he has been tumultuously involved for a while. Eventually she heads for London and he promises to follow, but soon after she leaves he meets Gianna, a barmaid, and falls instantly in love. Still he goes to London and asks April for her hand. Trouble ensues when she finds out about Gianna. Gibson goes back to Australia and moves in with the barmaid and they plan to marry. He buys her a $4,000 engagement ring. Time passes and Gianna becomes colder and more withdrawn. When they eventually break up she refuses to return it. The disconsolate Gibson then ends up with Cindy, to whom the film is dedicated. ~ Sandra Brennan, All Movie Guide

Australian filmmaker John Duigan followed up his captivating The Year My Voice Broke with Flirting. Noah Taylor repeats his "Danny" characterization from the earlier film, while Thandie Newton plays a Ugandan exchange student who attends an Australian girls boarding school. Billeted at a nearby boy's school, Danny finds himself falling in love with Newton, though he is frequently at a loss as to how to express himself. Flirting is the second in a proposed trilogy of John Duigan-directed films revolving around Danny's "awkward" years. Featured in the cast as one of Newton's schoolmates is Nicole Kidman. ~ Hal Erickson, All Movie Guide

Grieving over the death of their son, a married couple decide to take a long yachting trip for relaxation's sake. Their journey takes a dark turn, however, when they rescue a young man from a drifting vessel. The couple soon discover that the other ship's crew had been brutally murdered by their new passenger, and find themselves in a battle of wits against this violent sociopath. Interestingly, a previous attempt had been made at adapting the novel that inspired this film by none other than Orson Welles; footage from his unfinished version, known as The Deep, can be seen in the documentary Orson Welles: The One-Man Band. ~ Judd Blaise, All Movie Guide

The Witches of Eastwick, a memorable comedy with a dark edge, is based upon a novel by John Updike. On Thursday nights three female friends -- Alex (Cher), Sukie (Michelle Pfeiffer), and Jane (Susan Sarandon) -- meet to chug martinis, learn Chinese aphrodisiac cooking and lament the scarcity of eligible men. As they sit around, they fantasize about and describe their idea of the ideal male. Arriving in town the following day is Satan, disguised as mysterious stranger Darrell Van Horn (Jack Nicholson). One by one, Van Horne seduces each of the women. Then, strange things begin to happen. When the town matriarch Felicia (Veronica Cartwright) publicly denounces Van Horne, she sustains a nasty compound fracture. When she forces her editor husband to publish a story about Van Horne's sexual antics, Darrell gets his revenge with revoltingly large amounts of cherries. The women now see that they may be in danger and begin to plot their escape. ~ Linda Rasmussen, All Movie Guide

About 15 years after the events of Mad Max 2, nuclear war has finally destroyed what little was left of civilization. Grizzled and older, former cop Max (Mel Gibson) roams the Australian desert in a camel-drawn vehicle -- until father-and-son thieves Jebediah Sr. (Bruce Spence) and Jr. (Adam Cockburn) use their jury-rigged airplane to steal his possessions and means of transportation. Max soon winds up in Bartertown, a cesspool of post-apocalyptic capitalism powered by methane-rich pig manure and overseen by two competing overlords, Aunty Entity (Tina Turner) and Master (Angelo Rossitto), a crafty midget who rides around on the back of his hulking underling, Blaster (Paul Larsson). Seeking to re-equip himself, Max strikes a deal with the haughty Aunty to kill Blaster in ritualized combat inside Thunderdome, a giant jungle gym where Bartertown's conflicts are played out in a postmodern update of blood and circuses. Although Max manages to fell the mighty Blaster, he refuses to kill him after realizing the brute is actually a retarded boy. Aunty's henchmen murder Blaster nonetheless, then punish Max for violating the law that "Two men enter, one man leaves." Lashed to the back of a hapless pack animal and sent out into a sandstorm, a near-death Max is rescued by a band of tribal children and teens. The descendants of the victims of an airplane crash, the kids inhabit a lush valley and wait for the day when Captain Walker, the plane's pilot, will return to lead them back to civilization. Some of the children, refusing to believe that Max isn't Walker and that the glorious cities of their mythology no longer exist, set off in search of civilization on their own. Max and three tribe members must then rescue their friends from Bordertown and the clutches of Aunty Entity -- a quest that ends in a lengthy desert chase sequence that echoes the first two Mad Max films. Spence also appeared in Mad Max 2 in a different role, that of the Gyro Captain. ~ Brian J. Dillard, All Movie Guide

This stunning, post-apocalyptic action thriller from director George Miller stars Mel Gibson as Max Rockatansky, a policeman in the near future who is tired of his job. Since the apocalypse, the lengthy, desolate stretches of highway in the Australian outback have become bloodstained battlegrounds. Max has seen too many innocents and fellow officers murdered by the bomb's savage offspring, bestial marauding bikers for whom killing, rape, and looting is a way of life. He just wants to retire and spend time with his wife and son but lets his boss talk him into taking a peaceful vacation and he starts to reconsider. Then his world is shattered as a gang led by the evil Toecutter (Hugh Keays-Byrne) murders his family in retaliation for the death of one of its members. Dead inside, Max straps on his helmet and climbs into a souped-up V8 racing machine to seek his bloody revenge. Despite an obviously low budget and a plot reminiscent of many spaghetti Westerns, Mad Max is tremendously exciting, thanks to some of the most spectacular road stunts ever put on film. Cinematographer David Eggby and stunt coordinator Grant Page did some of their best work under Miller's direction and crafted a gritty, gripping thrill ride which spawned two sequels, numerous imitations, and made Mel Gibson an international star. One sequence, in which a man is chained to a car and must cut off a limb before the machine explodes is one of the most tense scenes of the decade. The American version dubbed all the voices -- including Gibson's -- in a particularly cartoonish manner. Trivia buffs should note that Max's car is a 1973 Ford Falcon GT Coupe with a 300 bhp 351C V8 engine, customized with the front end of a Ford Fairmont and other modifications. ~ Robert Firsching, All Movie Guide