John Meillon Movies

"Everlasting Secret Family" is the name of a sub-rosa homosexual brotherhood in this riveting Australian film. Two of the ESF members are a middle-aged politician (Arthur Dignam) and a boarding-school student (Mark Lee). The younger man begins chafing at the "plaything" status imposed upon him by the older members of ESF. His resentment culminates in a battle of wills between himself and the senator's politically expedient "straight" wife (Heather Mitchell). Dispensing with subtlety, Everlasting Secret Family suggests that, like the so-called mainstream political scene, the gay lifestyle can become a dangerously manipulative power trip in the wrong hands. ~ Hal Erickson, All Movie Guide

Dunera Boys is all the more incredible when one realizes that it is founded in truth. At the beginning of the second World War, the English government sanctioned the arrest of any German nationals suspected of being spies. Among these was a group of Jewish refugees, as well as several completely assimilated British subjects. Fishmonger Bob Hoskins, who despite his Germanic background is as British as they come, is rounded up along with the other "undesirables," herded aboard the HMT Dunera, and shipped off to a POW camp in Australia. This lumpy but involving film details Hoskins' futile efforts to make the best of his bizarre plight. The Dunera Boys was originally produced for Australian television; for its American release, it was given an R rating for violence and language. ~ Hal Erickson, All Movie Guide

Director Henri Safran adapts Henrik Ibsen's stage play to an Australian setting and a turn-of-the-century ambience in this uneven presentation of an illicit love and its consequences. Harold (Jeremy Irons) is a somewhat over-the-edge photographer who has lost out at a career in the sciences. His wife Gina (Liv Ullmann) is an opposite personality type: subdued, quiet, not prone to excessive outbursts. Harold's father the Major (John Meillon) lives with the family, which includes the daughter Henrietta (Lucinda Jones) who is slowly going blind -- and all is as normal as possible until Gregory (Arthur Dignam) shows up and in a two-day period, tragedy strikes. The prig Gregory sees it as his obligation to open up his best friend Harold's eyes with some shocking news: Henrietta is not really Harold's daughter at all, but the offspring of an illicit affair between Gregory's father and Gina. Figuring into this relationship is a wild duck that was once wounded by Gregory's father, and its symbolism looms almost too large over the rest of the complex, claustrophobic household as personalities lead events to their fateful end. ~ Eleanor Mannikka, All Movie Guide

In this gentle drama, a young American man (Beau Bridges) forsakes his promising career working with his father (Lloyd Bridges), a powerful business magnate, in favor of becoming a professional beach bum in Australia. After the boy becomes a world renowned surfer, his dad turns up from the States and tries to reconcile with his estranged son, which must happen soon, as the father only has a few months left to live. This telemovie represented the second of two Australian productions that Beau Bridges did, after the extraordinary Adam's Woman in 1970. ~ Sandra Brennan, All Movie Guide

The principal characters in this Australian miniseries were James Casey (John Meillon) and his terminally ill son, Sean (Mark Shields-Brown). Throughout the series' three 75-minute episodes, James met with formidable obstacles as he endeavored to grant Sean his three last wishes: to get a dog, to be reunited with his mother, and to meet the Queen of England. The story concluded with the proposal, and granting, of a mysterious fourth wish. Based on a true story, The Fourth Wish aired over the Australian ABC network in 1976; two years later, a feature-film version appeared, again starring John Meillon. ~ Hal Erickson, All Movie Guide

This Aussie/Western variation on the Psycho formula is set in the tiny Outback town of Gippsland in the 1890s, where travelers visiting a remote inn are being bumped off by a mysterious interloper. After a perfectly dreary hour or so, wily lawman Alex Cord solves the mystery that somehow managed to befuddle the rest of the cast -- it seems crackpot innkeeper Dame Judith Anderson and her husband have never quite recovered from the trauma of seeing their children killed by escaped convicts who once invaded their home, and they have been busily hacking up their guests ever since. The setting provides for some pleasant location photography and gives the film a unique look and feel, but the story is completely bogged down by dull pacing and lackluster performances -- except for Anderson, who is always a treat to watch, even when she's given little to work with. ~ Cavett Binion, All Movie Guide

The contrast between modern, urban civilization and life in the natural world lies at the heart of Nicolas Roeg's visually dazzling drama Walkabout. In broad outline, the plot might resemble a standard fish-out-of-water tale: two city children become stranded in the Australian outback, and struggle to find their way back to civilization with the help of a friendly aborigine boy. But Roeg and screenwriter Edward Bond are concerned with far more than the average wilderness drama, as a shocking act of violence near the story's beginning makes clear. This is particularly true in regards to the relationship between the white children and the aborigine boy, who ultimately develops a troubled romantic attraction towards the older sister. Obviously intended as a statement on the exploitation of the natural world and native cultures by European civilization, the film nevertheless maintains an evocative vagueness that usually -- but not always -- favors poetry over didacticism. Most importantly, the film's justifiably acclaimed cinematography is likely to sway even those who find fault with the film's narrative and message. The shift between the sterile city images and the truly stunning, beautifully composed Australian landscapes provide the film's single best argument, making the film a vivid and convincing experience. ~ Judd Blaise, All Movie Guide

Based on a popular Australian novel, this comedy was produced Down Under in 1966. Nino Culotta Walter Chiari is an Italian journalist who is lured by his brother into coming to Australia to work for his paper there. But when Nino arrives in Sidney, he finds out that there is no paper; his brother has taken off with the investors' cash. Left in the lurch was his brother's business partner, Kay Kelly (Clare Dunne). Nino vows to pay off his brother's debt and gets a job as a bricklayer to do so. He also tries to woo Kay, but he is repeatedly rebuffed, with humorous results. ~ Michael Betzold, All Movie Guide

Cliff Robertson and George Chakiris star in this dumbed-down version of The Guns of Navarone. During World War II, the story concerns a Scandinavian underground leader, Erik Bergman (George Chakiris), who reports to British authorities the location of a German V2 fuel plant. As is the case in most World War II action films, the plant is in an impregnable location -- beneath an overhanging cliff at the end of a highly defended fjord. The only way the British can hope to destroy the plant is by collapsing the cliff on top of it. In order to do that, light Mosquito aircraft must be utilized. This is the job assigned to Wing Commander Roy Grant's (Cliff Robertson) 633 Squadron. In order to assist Grant in his air attack, Bergman attempts a simultaneous ground attack, but the ground attack fails, and Bergman is captured by the Germans. When he is tortured in their efforts to uncover the RAF plans, Bergman may not be able to withhold the top-secret information. Howard Koch and James Clavell adapted their screenplay from Frederick E. Smith's novel, reportedly based on a true story. Though Koch and Clavell are each known for their excellent writing, Squadron 633 is notable mostly for its adept cinematography from the co-operative effort of John Wilcox and Edward Scaife. ~ Paul Brenner, All Movie Guide

Based upon a novel by Shelley Smith, The Running Man opens at the memorial service for Rex Black (Laurence Harvey), the owner of a small air transport company who is believed to have drowned in a recent glider accident. It soon turns out, however, that Black is very much alive; he faked his death as a means of getting back at the insurance company who denied an earlier claim because he was one day late in making his payment. He has enlisted the cooperation of his wife Stella (Lee Remick) in this scheme. While she waits for the insurance company to approve the claim, he disguises himself, assumes a new identity (that of Charles Erskine, a shoe salesman) and goes to wait for Stella in Spain. Once there, he meets drunken Australian millionaire Jim Jerome in a bar; when Jerome inadvertently leaves his passport at the bar, Rex confiscates it and hatches a new plan to collect on Jerome's insurance as well. In the meantime, Stella has met with insurance representative Stephen Maddox (Alan Bates), who eventually approves her claim. She journeys to Spain, but finds Rex a changed man, and isn't comfortable with either his new personality or his latest scheme. To make matters worse, Maddox shows up. Is it a coincidence or is he suspicious? The rest of the film hinges on the answer to this question, as well as what Maddox's plans are in either case. ~ Craig Butler, All Movie Guide

A British officer must save the Barbary apes on Gibralter at all costs in this WW II farce. He does this, because it is believed that if the apes leave the rock, Britain will fall. The trouble begins when the only male ape dies. To save the rest, the officer and his side-kick sneak in to Zurich and steal an ape from a German circus. This results in a promotion for the officer, and now he and his partner are assigned to protect the ravens in the Tower of London. ~ Sandra Brennan, All Movie Guide