Hammers Over the Anvil

Beautiful, passionate rites of passage film. Ann Turner, the director, chose her actors well. Charlotte Rampling's cool femininity and Russell Crowe's intense masculinity created a special chemistry on screen. Ann Turner had some very delicate scenes to direct and used an subtle and artful touch. The opening scene was glorious and a joy to see an actor (or anyone) so comfortable in their own skin.

The young boy who played Alan Marshall (Alexander Outhred) was absolutely wonderful. There was a magical, childlike wonder and innocence about the love scene between East & Grace that Alan witnesses and another reason why this film is so good. I don't want to spoil this for anyone who is able to see it... I'll just say this could become one of my favorite films. It's possible that this will be released on VHS soon.

I read over some of the comments written about this movie prior to actually seeing it myself and after seeing the movie I wonder if some of these people saw the same movie I did. I kept reading about the movie and hearing about the nudity and the sex scenes between Grace and East and about Russell Crowe never the main character himself. The movie is not about Russell Crowe's Character, East it is about Alan and the coming of age of a crippled boy and how he deals with his handicap, girls, maturity, family, friends and sex. East is his idol and actually plays a small role in this film. Personally I think this was a very well done film about Alan with Russell (East) and Charlotte (Grace) playing great supporting roles. I would recommend this movie to anyone interested in a very well done and at times humorous film about a boy coming of age. And for those people concerned about the brief skinny dipping scene in the beginning. You can not see everything on Russell Crowe and the one sex scene between Russell (East) and Charlotte (Grace) is nothing more than you would see on any of the daytime Soaps.

As this year's films slip into the annals of film history, joining all the other visual works of man, the collective aesthetic speaks its choice.

"Hammers Over The Anvil" is destined to be one of those classics that is cited again and again as defining the genre.

The film is depthful, heart-breaking and heart-warming -- a lush visual journey, timeless in its insights. "Coming to manhood" is an essential human theme, and this film portrays it honestly and memorably, leaving the viewer with much to think about, deeply moved.

While successful U.S.-distributed movies "borrowed" their themes and content from this film, eight years in the making, and undercut its distribution potential in the early 1990's, they can never diminish or replace its unique brilliance.

Had its original distribution not been botched, it is my opinion that American movie goers would even now be citing this film along with "Gone With The Wind", "The African Queen", and "It's A Wonderful Life".

Today's film-goers have an insatiable appetite for excellence, whetted by the substance-less salads offered as main entrées. They will find this classic and devour it, again and again.

Final words... gorgeous, warm, chilling, real, unforgettable. This one will not go away.

I wonder if "Hammers Over the Anvil" author Alan Marshall could conceive there would one day be a film version of his book that opened with a grinning pubescent version of himself watching a grown man with a Peter Pan complex frolic naked in the water with horses, intermittently straddling and splaying himself across their backs. On the other hand, it gives hope to actresses like Traci Lords that they might one day go on to achieve success in legitimate films, like Russell Crowe, despite this naked exposure, has done.

Seriously, I chose to rent this video because of Crowe's inclusion in the cast, and knew ahead of time there was some nudity, but jeesh! The opening scene was tame compared to the rest of the film. Have these Aussies not heard that less is more? How about some subtle lighting and shadow play? I may as well have been standing in a barnyard watching a bunch of rutting farm animals have at it. The grunting and groaning alone sufficed; the viewer didn't need to be hit over the head with the visuals.

The secondary plot of young Alan trying to overcome the challenge of his polio inflicted legs so he could one day mount a horse was lost. Instead, the muck masquerading as an adolescent's "coming of age" became the focus of this movie. A shame for a work by a classic author like Marshall.

It's 1910 rural Australia. Alan Marshall is a boy crippled by polio who worships local hunky horse trainer East Driscoll (Russell Crowe). He is befriended by new English arrival Grace McAlister (Charlotte Rampling). She and her husband have brought ostriches from Africa. Alan is taken with her and then he catches her with East.

It's an Australian film based on a book. It's an old style tragic romance and coming-of-age. It's a bit pulpy and melodramatic. The production is better than TV but isn't quite epic enough to be cinematic. More than anything, Alan needs to be more. The young actor is not the most charismatic but even that could be fixed with a more compelling character. He is supposed to be crushing on Grace. He needs to be spying on her as much as possible. More can be done. The story is a bit slow. What it does have are two big time actors doing a smaller project. They do well but at the end of the day, this is Alan's story. He needs to be more. A more compelling move would be for him to have a crush on East. Either way, this kid may not be up to the task and his character should be better anyways.