Geada na Madrugada

Greetings And Salutations, and welcome to my review of Early Frost; here's the breakdown of my ratings:

Story: 1.00 Direction: 1.25 Pace: 1.00 Acting: 1.25 Enjoyment: 1.00

TOTAL: 5.50 out of 10.00.

Oh, those Australians.

I love you guys and gals. You never shy away from telling a story like it is. And it's the gritty realism that makes this movie so damned good. However, it's a shame that the storyteller wasn't better skilled.

Terry O'Connor, who scribed this bold and bleak tale of murder and a dysfunctional family, could've done with a few more projects under his belt. I respect his choice to make the story as uncompromising as he could. On the whole, this approach works well and adds an insightful deepness into a deteriorated family life. Sadly, when the reveal and the climax arrive, the rushed feel of the narrative and lack of details destroys everything that came before. O'Connor gives us Val Meadows, wife and mother, but not a lover. The only reason Peter Meadows married her was so she could pop out his kids, feed them, and look after them when they were sick. When she fully realises what her present and future hold, she hears the call of the whiskey bottle - and Val is a vicious drunk. On one family outing, Peter teaches their son Joey how to swim. However, things don't go well, and Val irked by Peter's inability to teach Joey to be an Olympic swimmer in ten minutes, bestows upon his forehead a can of beer. Dazed and confused, Peter drowns as his family watch. Val informs the police that Peter was attempting to save Joey from drowning when he went under the water. The kids say nothing. Years later, the whisky still calls to Val while her kids call her every name under the sun. John, the oldest, lives his own life and is looking to get married - as long as his pig of a mother doesn't mess it up. Joey, still a kid and at home, takes to staying out and away from his mother most nights. Val knows all too well how her sons feel toward her. She even believes John is out to kill her. So when she gets zapped by an electric shock one night, she isn't too surprised when she comes around. But a few hours later, a stranger pays her a call: A private detective who's figured out that she may be a serial killer's next victim. From this moment onwards, we needed more clues to the killer's identity. Even if they were red herrings, they would've pulled me into the story further. And because of the reveal at the finale, the incidents become hard to accept, especially the private eye's exploding car. I needed some evidence that the killer had the skills to accomplish these murders. It didn't matter how good the story was or how well-written the individuals were. These positives got blown to hell in the last ten minutes.

The direction is fine. Nothing is outstanding or memorable about it. And, in truth, it's missing quite a lot, particularly at the movie's end. I am unsure if the ending was a victim of the census board or if the directors planned it this way. Whatever the answer, it's as horrendous as the narrative's conclusion. To be honest, it's worse. Had the directors shown the killer completing their last kills, even in silhouette or from the shadows, it would've alleviated some of the finale's awfulness. Because it doesn't, it leaves the viewer with the thought that the involved murders were thought of first - to entertain - and then O'Connor decided on the killer to add shock. I hope this wasn't the case because the film and story are decent until this moment. Another element that required attention was the pacing of the storytelling. There are distinct sections that would've benefitted from a varied tempo to add excitement and tension.

It's the cast that makes this picture so watchable. Everyone adds to the down-to-earth feel of the movie. Diana McLean as Val Meadows, Danny Adcock as John, and Daniel Cumerford as Joey are the stars of the show. These three perfectly portray an exceedingly dysfunctional family. It's all too easy to see and understand everybody's feelings in this microcosm of distrust. McLean carries an air of self-loathing and scepticism, which she hides under a tough and weary mask. John is strong, confident, and possesses the courage to challenge his mother. Joey is a loner trying to find his feet and purpose in his unfortunate world.

Had the climax been as robust and credible as most of the film, I wouldn't have hesitated to make this a 1-2-Watch. Sadly, as it stands, I must relegate it to an only watch if there's nowt better on your telly, phone, or tablet. But should your interest be piqued, feel free to search the interweb for it. It'll entertain you right until the climactic revelation.

Hey Piggy! After you've scrubbed this pig sty clean, you can read my IMDb list - Killer Thriller Chillers and see where I ranked Early Frost.

Take Care & Stay Well.

It was actually my XJ6 Jaguar that was blown up in Early Frost (1982), not Terry's. But yes, Terry was a local Blacktown boy. The reason The late Guy Doleman was cast was because twenty years earlier he had been my mentor when I was a young actor. I didn't do him any favours unfortunately. Terry was not the original director, so as writer was not responsible for what went wrong. The original director was removed, and Geoff Brown (co-producer) and I did what we could to fix the picture. It is to this day the only Australian film to have no director's credit See David Stratton's book The Great Avacado Plantation for more detail.

David Hannay, Producer - Early Frost.

Thankfully, this was David Hannay's one and only try at directing a movie and it's pretty obvious why he never directed a second one (though he seems to be responsible for producing every awful Australian horror movie that ever graced the screen...). This one pretty much spells "S-U-C-K" from start to finish and has nothing, really NOTHING going for it, except maybe a fairly cool scene involving a severed head towards the end... oh, and what an ending it is! Is there anybody out there who understood it? I mean, I know who the killer is (I think I know it...), but I really didn't get how he was related to the goings on... and what's up with that spear gun ??? Please, if you've seen this mess and it made sense to you, MAIL ME !!! Boy, this movie makes me feel so stupid... :(

I had almost forgotten that this film existed until I saw it pop up as the midday movie on TV in 1998. The storyline and stars seemed familar. I remember when this film was being made in Blacktown and there was an article in the local newspaper about this production at the time. It was my understanding that Terry O'Connor was a local who wrote and directed this low budget film.( I suspect that David Hannay salvaged and edited the film as curiously there doesn't appear to be a director's credit on the film.) It was Terry O'Connor's own Jaguar Car which was blown up in East Blacktown Hotel car park. I was surprised to see veteran actor Guy Doleman from the "Ipcress File" in the film and wondered how he came to be cast. David Franklin played a very campy killer, or was he? I was a bit confused as to whether young Joey was involved in the murders and why the spear gun? Was it me or was there a hint of incest between mother and son at the party. the film also starred Jon "Sonny" Blake who was tragically injured in a real life car accident and left permanently brain damaged. Joanne Samuels who played the girlfriend also played Mad Max's wife in the movie "Mad Max". Whatever happened to the kid who played Joey or Terry O'Connor?

Although the acting is terrible, my children and I got a kick out of watching this thriller set in and around Blacktown. Most of the actors were from prominent 1970's soap opera's such as the "Restless Years" and "The Young Doctors".