Ces chers disparus

watch for the strange little fan at the stage door (he is carrying a carnation) played by writer Steve j Spears . He also played the mechanic on the swing in mad max and is the author of the long running play "The Elocution of Benjamin Franklyn" . I love this light hearted romp , it's a great old fashion comedy . This is one of those movies that is worth watching a second time for what you have missed first time round . if you are lucky enough to own a copy of this with it's original artwork you may notice that it has the identical artwork as "Pennsylvania 6 5000" with Jeff Goldblum . give this movie a look if you have previously passed it by .the writer Steve J Spears has passed away and sadly missed.

Unbelievable, this movie was made in 1987 and only 13 persons have voted for it and none have written a review. Well, let me tell you, it was a lucky find in the VHS discount bin (along with 'Surf II') at a large convenience store.

I must confess ; I like weird movies and weird movies with an occult content that also combines thriller with comedy are doubly fun.

It all start innocently enough ; We see a young lady confessing to a tape recorder, the murder of her husband and several others. Then we are treated to some flashbacks about her husband and her murder attempts (these scenes from 'Freud, the musical' really had me laughing out loud}. We see her husband, Max Falcon, getting more and more paranoid. A few failed murder attempts are necessary before he finally succumbs.

But it is not over ; Welcome to the afterlife for actors and related professions. It seems Max still has some unresolved issues he needs to solve before he can continue. His widow will have to confess and there is something in his past, involving his mother, his father and a teddy-bear, that would give the real Freud a true field day.

It all gets resolved in the end (especially after the late Norda has a small conversation with the 'guy upstairs'). Although, in the end, it seems that a person will remain the same, whatever he or she is.

This movie is not brilliantly acted, the special effects are obsolete and the flashbacks do interrupt the flow of the story. Yet, it is enjoyable. I find myself returning to it every now and then (I watch it, say, two times a year, along with 'the Rocky Horror picture show'). At least more often then I watch 'Star Wars'. It is simply fun and wacky and that does count for a lot.

I would recommend it for those who like a weird and funny movie and do not have too high expectations. It will provide you with 80 minutes of fun and, yes, you will remember it.

This Australian made attempt at creating a black comedy is blighted by horrendous hamminess from most of a cast which plainly is reflective from its limp direction, as well as an inability to overcome a script that ripples with inanity, despite the presence of some talented players, in particular the unique Pamela Stephenson. In an outlandish narrative that will mitigate against most viewer enthusiasm, Stephenson performs as Marilyn Falcon, whose husband Max (Garry McDonald) is starring in a rather ludicrous musical comedy version of the life of Sigmund Freud. Max is paranoiac concerning a number of attempts that have been made upon his life, a reasonable fear, as his spouse has indeed tried to kill him in order for her to exchange Max for the Falcon chauffeur, Richard (Marian Dworakowski), a young man with whom she has been lustfully comporting for two years. Although Marilyn is staunchly aiming to do away with her husband, she has merely iced the wrong party with each effort. Her victims' wraiths in this farce have assembled as a ghostly sodality within a sort of purgatory to which they have been relegated until they may successfully unbridle themselves from "unresolved issues", and instead of simply hanging about, waiting to do so, those dear departed recently murdered by Marilyn find enjoyment in haunting her and her paramour. Meanwhile, a besotted Richard is discovering that it is an increasingly formidable task to assist his pitiless lover with her plan to bring about a final send-off for Max, who is in a whirl of frenzied activity for his role as Freud, added to discomfiture caused by mysteriously based endeavours to bump him off. The consequences of chance having vetoed widowhood for Marilyn include close attention given to the circumstances revolving about the sundry slayings by a police Inspector (John Clarke) along with his Sergeant partner (Jonathan Biggins). This fantasy is undone for the most part through out of hand histrionics by a cast which wants for direction that might provide a point of view. This weakness at the helm, in addition to an untidily constructed scenario, poorly executed special effects, and capricious camera-work (overuse of close-ups), results in a narrative that is left at the gate. A beautiful Stephenson does her best as a beautiful Marilyn, and Clarke freshens each of his scenes as a properly suspicious detective focused upon felonious details.