Eles vão dar o que falar

Delightfully light-hearted look into Sydney pre-Vietnam attitudes, still brimming with confidence straddling 50's conservatism and the beginning of the counter culture movement that emerged in the latter part of the decade. It was a very good time to be a ten pound Pom, or indeed any number of European immigrants who accepted the invitation, as Walter Chiari's character (Giovanni 'Nino' Carlotta) experiences, though not without comic incident as he tries to right his cousin's business debts. As other reviewers have remarked, a sort of humorous propaganda promo for Australian immigration.

The beer flows like rivers of amber nectar in a Gold Top commercial, the formal bars and building site where Nino comes to learn the Aussie vernacular; Ed Devereaux (pre- "Skippy"), John Meillon (who almost steals the show), Chips Rafferty, Anne Haddy was there much younger obviously than her later soapy salad days. Obviously the movie needs to exaggerate reality to create humour and I reckon you'd need to be *bloody* churlish to be offended, it's pretty harmless (self-deprecating in fact) when viewed in context.

A wonderful time capsule and source of nostalgia from Rank, perhaps a little bittersweet too when you consider how much of that beloved character we've since abandoned.... worth watching, should bring a smile to your face, perhaps even a little tear to your eye.

This charming valentine to life in Australia in the 1960s and particularly in Sydney shows truly how good it is to live here.

Fortunately we are still not too far away from some of the Anglo working class types shown. It is only because the population has grown so much, particularly in Sydney since this time that 2004 is a difference in society. It was filmed just before the Vietnam War and recreational drug influx by US soldiers polluted Sydney morals and living standards, and on the verge of a huge American influence in advertising and consumer goods. Australia's immigrants were British and European up until that point. In the 80s there was a big rise in Arabic and Asian immigrants which has changed the face of Sydney literally.....but somehow the "Australian" sense of humor and egalitarian attitudes seen on this lovely film sort everyone out even today. The 2001 film DIRTY DEEDS is a good chaser to WEIRD MOB because it is set in 1969, and at the height of the American changes in Sydney.

I recently watched the DVD of this movie. Way back in the sixties it was a big hit at a time when very few Australian movies were being made. I am delighted to say that the movie holds up remarkably well. It is now a charming curiosity of another time. The plot is by now well known but I wondered if I would cringe over the way Australians were portrayed. I need not have worried as the characters are warm and earthy. It was wonderful to see some of those fine actors of the past, most of whom have passed away. Chips Rafferty is superb in one of his last movies. The only character that does not work is the love interest Clare Dunne who has a very cold screen presence. She sounds like she is taking elocution lessons on screen. The most pleasant surprise is Walter Chiari as Nino. He is delightful. Chiari had a troubled career, especially in his Broadway misadventure in the flop musical "The gay time" opposite Barabara Cook. The musical however sounds wonderful now, perhaps it was ahead of its time. In this film Chiari is enchanting and dam cute too. The real joy for most Aussies is seeing a brief appearance by the undisputed king of Aussie television Graham Kennedy. Graham allows the script and director to send him up. There will sadly never be another Graham but hopefully there will be many more Australian movies as charming as this. It really was a pleasant surprise. Do see it.

Recently restored and remastered (within a limited budget) for DVD release, this movie was a revelation in Aussie ways and customs, a near-to-totally honest portrayal of what it was like for immigrants arriving here back in the last half of the 20th Century (yes, it seems a long time ago).

The house that Nino built occupied a block in Greenacre, NSW, less than half a mile from where I was living at the time. I must have driven by it thousands of times. Previous prints screened on TV have been abysmal with washed out colour and scratchy images and sound. To see this near-as pristine print (for the most part) was an eye-opener and the scenes of Greenacre, Bankstown and other Sydney locations brought memories flooding back.

The cast of fine supporting actors makes the film worth watching, while the lead actor is simply perfect. One can't imagine anyone else in the part. The film flags towards the end but generally, it's great viewing.

Whoever you are, you probably have no desire to see this film. I understand. I had no desire to see it either. It was a blockbuster in its day, but only in Australia, and Australians are among the last people on the face of the planet who'd want to see it now. We don't want to be reminded what our country was like in the mid-1960s. Not that "reminded" is the right word, for most of us either weren't born or weren't here in 1966 (I certainly wasn't), and so it's easy for us to suppose that this film is nothing more than (a) a sustained exercise in wog-bashing, and (b) a celebration of everything we've all been earnestly trying to escape ever since the introduction of decimal currency and decent coffee. I'm sure most Australians, like me, will be thinking: If I watch this movie, how much will it make me cringe?

The short answer: okay, it probably WILL make you cringe now and then; but it's more moving, more witty, and more enlightened, than you might think. No wog-bashing. And it's NOT, as I feared, the 1960s equivalent of "Crocodile Dundee". Neither a kangaroo nor a swagman in sight. Powell even resists the temptation to show the Sydney Opera House as he pans over the harbour, probably because it hadn't yet been built.

I wouldn't have seen it if it hadn't been directed by Michael Powell. And here I have grounds for disappointment, since there's none of Powell's usual visual inventiveness or splendour. But fair enough: visual splendour would have been beside the point in this kind of comedy, and it may have been fatal. It's not that there's anything WRONG with the cinematography. To compensate for the fact that it's not another "Black Narcissus" we get a nice, light, and in the end surprisingly touching, comedy. The obvious cultural misunderstandings (Nino thinks, for a while, that there's a region of Sydney called "King's Bloody Cross" - that kind of thing) are neither laboured nor over-stated. Nor are they really the point of the film. Sure, Nino solemnly does what everyone tells him to do as if he were an anthropologist entering a mosque, but the story takes us further than this.

By the way, you'll note that almost every spoken sentence contains either a "bloody" or a "bugger". Powell later said that this was the key to getting past the censors. If he'd been conservative and had his characters swear only once or twice, the censors would have insisted on minor cuts; but since everyone swears constantly, it's impossible to cut one scene without cutting the rest, so the film emerged unscathed - with a G rating!