Dogs in Space

'Dogs in Space' pretty much seems to have disappeared over the years. My widescreen copy was taped off Channel 4 in the early 90's, and I'm pretty sure this was the last British terrestrial screening. Which is a real shame, because its a fantastic film. Written and directed by Richard Lowenstein, maker of the excellent 'Strikebound' and promos for INXS and U2, its an apparently semi-autobiographical piece about the various dwellers of, and visitors to, a rather decrepit squat in late 70's Melbourne.

For those who might be put off by Lowenstein's corporate rock pedigree, fear not. The film avoids modish stylisation in favour of a rather free-wheeling, Altmanesque approach to construction and character development. The viewer is left to decipher dialogue and make connections for themselves.

The piece is beautifully photographed and edited, and makes wonderful use of the 'steadicam' camera mount. Only at the very end does Lowenstein indulge himself in promo-style picture-making to sell the tie-in single 'Rooms for the memory'. And presumably give his otherwise pretty uncompromising vision some commercial lustre.

As with Altman's best work, the guiding hand is detached but compassionate. The characters are all fiercely idiosyncratic individuals, often infuriating and shallow. But they are never mocked. Instead we see that their silliness is often merely a result of an attempt to either forge uniqueness or merely belong, and as such it often attains a strange nobility.

At the films heart, though, lies a discernible disillusionment with, and subtle but pointed criticism of, the reality of the 'punk revolution'. Its most voluble proponents are shown to be either mouthpiece middle class drop-outs or confused, neglected teenagers. And its socio-political effect negligible.

Michael Hutchence's presence (again, presumably largely a commercial consideration) is rather subversively integrated into this schema. He is cast as a pretty but vain, self-obsessed and generally unlikeable singer Sam, whose outwardly anarchistic stance barely conceals a ruthless careerism. Sam is also witty illustration of the fact that punk inevitably existed off the graces of the bourgeois. He has his mother turn up at the squat with a freshly cooked meal and clean clothes while all the other residents are out. Again, though, the effect is wry rather than bile-drenched.

'Dogs' is well-acted by a cast of mostly never-heard-from-agains. The ubiquitous but brilliant Chris Haywood appears briefly to deliver a heartfelt eulogy to a chainsaw. It employs an excellent soundtrack, and special note should be made of the remarkable sound-mix.

It's an evocative, atmospheric snapshot of a sub-culture founded on both vainglorious naivete and admirable, rebellious individuality.

Deserves a deluxe, restored, fully stereophonic, all-bells-and-whistles DVD at the very least.

An interesting look at a house of drughead punks/homeless types in late 1970s/early 80s Australia (someone said Melbourne eh? That'd figure...certainly wasn't Brisbane! :-) ) Kinda like the Sid and Nancy of Oz, including the bittersweet ending. Although it's been years since I saw this film, and it's not available anywhere in the States (although I did see a copy in a Sydney video rental place...anyone wanna sell me one?) I distinctly recall Michael Hutchence's gloomy smackhead character experiencing THE most realistic acid trip at a party I've ever seen on film (and trust me, that's sayin something). Pretty plot less, yes, but worth it just for that scene.

I lived in Melbourne in this time frame. In share houses and went to lots of parties. Very much catches the ambiance, feel, human desires and dilemmas of being a youth in this era. Unless you lived there and know it you can't really appreciate the truth of this life. So many perished from overdoses. Many went on to live happy lives. But if you have been to these times for me they were the most free and some of the happiest times of my life because no one judged you, people encouraged individuality and a freedom of mind. There was a loyalty. Qualities in humanity that are not around today. People are emotionless now and do not discern right from wrong. The world is too dangerous. This was a cherished time.

This is for when you're feeling like you need some company, but you don't feel like venturing past your doorstep. It's a good example of "slice of life" cinema, taking us through the dirty, drug-addled day-to-day life of a punk commune in 1978 Melbourne. The late Michael Hutchence was the best choice to play Sam; though the film is a true story, it seems as if the role were written for Hutchence. Several of the parts were cast with non-actors, people that director Richard Lowenstein found in public, and that only adds to the gritty realism of the film. It's almost enough to make me wish I had been there. The strong performances by Nique Needles (as Tim, a friend and bandmate of Sam's) and Saskia Post (as Sam's girlfriend) are icing on the cake. As a bonus, you won't find a much better soundtrack - Iggy Pop, The Boys Next Door (later the Birthday Party), Brian Eno, Gang of Four, Dogs In Space (Hutchence and other actors/musicians from the film) and Melbourne locals of the day.

It has been about 15 years since I saw the movie. The best part, as I can remember was when Michael Hutchence (the late lead singer of INXS) was lying with his girlfriend in their bedroom and he told her the story of the "Green Monster". They were both very high and it was totally pointless. As a teenager, watching Michael Hutchence in a film was a very moving experience for my girlfriend and I who idolized INXS. We each memorized the story about the "Green Monster" [which is on the soundtrack to the movie as well]. I also believe that the movie had a fairly good volkswagon crash. There were also some other destructive and disgusting, but entertaining events that were kind of quirky. Some Americans would enjoy viewing this film.