Blue Murder

Blue Murder is far and away the best piece of television I have ever seen.

Never in my life have I seen a more well acted presentation. Every actor here is in top form, every scene works. This is not TV that tries to emotionally lead the viewer, it shows these brutal and truthful events as they occurred, and thats what makes it so engrossing, and so watchable, never once do we feel patronised by the makers.

Tony Martin is fantastic on every level as Neddy Smith, the seedy Sydney underworld character, portraying him to a tee. Steve Bastoni gives a totally believable performance as Micheal Drury. As Drury he gives Australian television possibly its most powerful scene ever after being shot in the kitchen of his family home. I can honestly say that this scene, where he tries to maintain control of himself while bleeding to death and trying to protect his family is the most anguishing scene of a mans life slipping away that I have ever witnessed.

However, the rest of the production is stolen by one man, Richard Roxburgh as the corrupt policeman Roger Rogerson. Roxburgh is a standout here, his is embued with that tough smoke and beer stained swagger that one associates with the 'old school' style of policing in the 70's and 80's in New South Wales. He and his police mates impeccably re-create the seedy and corrupt feel of tones of that plagued the NSW police through the 80's and 90's, complete with boozey lunches, prostitutes and revenge killings.

Blue Murder was not shown in my home state until 6 years after its production. It was considered too powerful, too close to the truth. It was feared it may influence several court cases that were proceding at the time along with the Corruption Commission set up to investigate such activities. With this in mind it is mind blowing to finally see what the rest of Australia has been privy to for the last 6 years.

Though 6 years old when first screened here, there's no doubt that Blue Murder is a landmark in Australian television. Its just such a shame that our best work seems to sprout from our darkest moments...

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.

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.

Members of the New South Wales Police Force, now called the Police Service, are the spiritual descendants of that raffish group of officers and men called 'The Rum Corps' who once took over the fledgling colony of New South Wales and expelled the Governor, the unhappy William Bligh. They were not called to account for that action and have been getting away with it ever since, even on occasion with murder. This 3 hour film traces the rise and decline of two policeman, one honest and the other a fine inheritor of the old traditions, and the careers of some of the criminals they were supposed to be catching. Made 5 years ago, its showing in NSW was held up until July 2001 because of outstanding charges against some of the principals, even though all the events depicted took place at least 10 years before the film was made.

It is an exciting story and I found it enthralling, despite knowing its broad outline. The core of it is the evolving relationship between gung-ho armed hold-up squad detective, Roger Rogerson, and the criminal he 'manages,' Arthur 'Neddy' Smith. Early on, Rogerson makes it clear that he is in charge and Neddy will do what he is told. As the story progresses, and Rogerson sinks deeper into the mire, Neddy becomes a partner, until the end they are co-conspirators in a number of evil deeds. Inevitably the 'management' of crime becomes criminal activity itself, and the bent copper turns out to be just as bad as the criminals he exploits.

Rogerson and the rest of the 'barbecue set' (his police cronies) were a bit unlucky that in the early 80s the NSW government by some oversight managed to appoint an honest police commissioner, John Avery, who, despite being a bit of a boy scout, made some inroads into entrenched corruption in the Force. Rogerson was also unlucky that the federal crime authorities, eager to prove their worth, spotted him as a target. Yet, despite being shown in the film as responsible for several killings, Rogerson's only convictions are for operating a bank account under a false name (which contained the proceeds of a Bentley he had sold) and then lying about it on oath.

This is a particularly well-made film, with a grainy realism appropriate to the subject matter, good locations (the real places, mostly) and good lighting, cinematography and editing. Some of the acting is also first-rate. Richard Roxburgh is quite uncanny - he IS Roger Rogerson, and Tony Martin gives us an interesting well-rounded Neddy, a character it would be easy to portray as a monster. Bill Hunter as always steals his few scenes as Black Angus McDonald, the (now dead) corrupt senior policeman who protects Rogerson, and Steve Bastoni is quietly effective as the hesitant but honest and rather brave policeman Michael Drury.

I also enjoyed John Hargreaves, all good-humoured guile, as barrister Chester 'Funnel-Web' Porter. Chester, a legend of the Sydney Bar, represented Rogerson on a criminal charge – trying to bribe Drury into giving false evidence. After getting a celebrity acquitted in difficult circumstances previously, Chester had been presented by some of his fellow barristers with a T-shirt bearing the legend 'Chester Porter walks on water'. In the end, however, even Chester cannot save Rogerson, the most highly decorated policeman in the state, from public disgrace.

Roger the Dodger is still around, in fact he was reported recently as admiring Richard Roxburgh's performance (as well he might). As for the rest though, 'it's all bullshit mate.'

Postscript 2006: "The Dodger" by former policeman Duncan Macnab chronicles Roger's rise and fall.

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.