FrSallyBowles

Wow! An amazing, lost piece of Australiana AND a lost 70s glam-rock film rolled into one. This film warrants viewing simply to see what can be done with next to no budget but a lot of enthusiasm. As a retelling of the Oz story, the film borders on becoming too obvious but it is saved by it's eccentricities. The chance for a glimpse at how glam rock manifested in Australia will delight fans of the genre. This film used to be double featured with the Rocky Horror Picture Show, an indicator of the type of film that Oz is. While not as frivolous or well constructed as RHPS it's hard not to have fun with Oz.

Surprisingly, Oz has aged well- perhaps a by-product of how determinedly set in the real Australia of 1976 it is. The passage of history shows that many of the ideas being explored would eventually enter the mainstream. The willingness of the film to give prominence to gay characters is notable, especially as it dates to the 'revolution' period for the Australian gay rights push.

The performances range from flinchingly amateur to finely nuanced brilliance. The direction is lacking in subtlety and much of the dialogue may have benefited from an extra draft or two. Somehow, these flaws add to the appeal of the film which is mercifully unpretentious. Much like Australia in the 1970s this film has a certain naive charm.

There are several connections to the original Australian stagings of the Rocky Horror Show which will keep obsessives on their toes.

Oz is most certainly a minor classic and a potential cult favourite worthy of review. Laugh at the atrocious 70s fashion, swing along with the AusRock soundtrack, leave ANY expectations at the door and Oz is likely to delight.

Heresy.

Unmitigated desecration of that which warrants more respect.

Blessed Mary Martin, pray for us.

Aside from quibbles arising from being local and recognising the locations this abomination has two central problems.

1- Harry Connick Jnr. The man is about as charismatic as celery juice. Cable is not a role for his semi comatose croon. The way that he slaughters 'You Have to be Carefully Taught' is a good case for capital punishment.

and

2- That it is, as billed, very much a film of the Michener stories. R&H's SP picks up from the stories but the presence of the real war is all but totally removed. In the original libretto the only intrusion of the war into the world on stage is the sound of gunners overhead. My understanding is that this is a very conscious device to increase the drama of LaBeque's 'death' and reappearance, and to lend dramatic urgency to the evacuation. I suspect R&H meant that it should parallel American life during the war, there are disruptions but they are {unless you live in Pearl Harbor} in the outside world and largely filtered back as tales of exotic adventure.

Glenn Close is a fine singer and actor but for Nellee she is simply too old. I can't find a case to age the character so dramatically other than adherence to the Michener stories or... Glenn's ego. Her age messes up the dramatic dynamics and various sexual tensions that serve to deliver the 'message'.

Close's voice sounds unusually reedy here. Bad audio production or she's singing above her comfort zone.

Some of Australia's finest musical theatre performers are confined to one line roles. A great pity, Simon Burke would have made a much better Cable. Angela Toohey did a superb turn as Sally Bowles recently.

I don't think South Pacific will ever work on film- it's too finely balanced between beauty and horror for literal visual interpretation.

Shelve this one with Bette Midler's assault on Gypsy- ideally in a lead box, locked and kept safely from children.