Blue Murder

The screenplay, by Ian David, is the primary reason why BLUE MURDER is the best TV ever produced in Australia -- in fact, it is better than 95% of the features produced in that country. And, yes, calling it the GOODFELLAS of Down Under is not exaggerating.

Other reviews here have detailed the content of this mini-series, so no point going there. I just hope my raving about it inspires people who haven't seen it to check it out and marvel at the sharp characterizations, brilliant performances, Michael Jenkins' intuitive direction and ultra-realistic dialogue.

The series captures the Aussie vernacular like nothing else ever has and portrays a "matey" political and social environment within the police force that allowed corruption to fester and become an accepted part of everyday life.

One powerful sequence, where a crooked lawyer is indifferently dropped into Sydney Harbor with a stove around his neck, perfectly captures the dark side of the Aussie "She'll be right, mate" approach to dealing with problems.

Richard Roxburgh as Roger Rogerson is nothing short of a revelation, but major nods must also go to Gary Sweet (his best performance by far), Gary Day (brilliant), Bill Hunter (solid as usual) and Alex Dimitriades (chillingly real).

If you're only retiring to that desert island with one Aussie DVD, this should be it.

The resemblance between Richard Roxburgh and Roger Rogerson is uncanny, to say the least, and is the most startling feature of the many associated with the production. The attention to detail in the series recreated the era beautifully, and for anyone who had followed the actual events upon which the script is based, they could be forgiven for thinking they were witnessing a documentary filmed with a secret camera, so outstanding was the writing, directing, production and acting by all the players responsible for getting this television masterpiece to the screen. The release in its state of origin of this program was delayed for years for legal reasons, but it did not date in the slightest, TV gold amongst the dross.

What a pity that we in NSW and the ACT couldn't see this for five years. But then you can see just why. How good is Tony Martin as Neddy Smith? How graphic was the scene when Lanfranchi got blown away? How come Rogerson isn't in jail right now?

I¡¦m quite surprised to find out that I seem to be the only non-Australian user who ever commented on this incredibly good TV movie. I clicked the hyperlinks around and found the leading actor Richard Roxburgh is the Duke in Moulin Rouge. I ran across this TV movie several years ago when I was just looking for some interesting show, and there it was. I never had a chance to see the complete show, and our local channel split it into two parts. I was quite shocked by the authentic but acerbic delineation of the police as well as some extremely violent shots that would be refused by American TV producers. Actually I could believe that it actually happened in the 80¡¦s in Australia, which is supposed to be a highly democratic and peaceful in every way. The incredulous scenes of the police looting civilians and murder, and the most ironic medal awarded to our hero.

Of course all these elements do not constitute this film as a masterpiece; what make this flick worth recommendations are the actors¡¦ impeccable performance and the director¡¦s ability to withhold too much personal comment that would ruin the cold style throughout the film. The police gangs¡¦ drinking binge and their obsession with interests and power appall the audience, and their ambivalent sentiments toward each other bewilder me. Their many-faceted acts make them more solid and close to real persons, and we all have a better understanding of the time and that part of Australia. This is definitely the best TV movie of the genre, and I feel really lucky to have seen this film.

This is easily the best mini-series this country has produced. From the opening scenes to the end credits the story rips along at a furious and engaging pace. The writing, indeed the script editing are first rate. The direction of the story is clear and equally the actors seem to respond exactly to the needs of the character, story and director.

At no time does the viewer ever become bogged down in superfluous plot because it simply doesn't exist. Instead we get only the intriguing facts of this gripping saga of Australian crime. The research is clearly extensive and the whole production team have done a terrific job. This is what TV should be.