Mark Hartley’s unabashedly affectionate Not Quite Hollywood: The Wild, Untold Story Of Ozploitation!, his tribute to Australian genre cinema, is one of the rarities that justifies my passion for documentaries about films and film history: a smartly made look at an otherwise neglected aspect of film history and culture, packed with colorful stories, witty observations, punky attitude and real history, and delivered with unrestrained passion and excitement for the subject. This is Hartley’s feature debut, but his resume includes scores of featurettes on Australian moviesâ€”from the official classics to the cult items, the high and low of cinema cultureâ€”for DVD supplements. In addition to the first person history this has given him, it’s also been an entrÃ©e to the directors, actors and other filmmaking folks of the era, and he is able to bring a wealth of voices to his film: witnesses to the thriving domestic Australian cinema that gets overlooked in the rush to praise the more respectable and dignified offerings.
As Hartley reminds us, there was no Australian film industry to speak ofâ€”and certainly no celebrated Australian New Wave, with its gentile historical subjects and tasteful filmmakingâ€”when producers like John D. Lamond and Anthony I. Ginnane and directors like Tim Burstall cashed in on the newly-minted ratings code of 1971. They turned out raucous R-rated sex romps and boorish comedies to critical disdain and popular success, not just domestically but internationally as well. When the nerds-and-boobs (and more!) formula wore thin at the box office, horror films (Patrick, 1978, Razorback, 1984), action movies (The Man From Hong Kong, 1975) and car culture outlaw thrillers (Stone, 1974, Mad Max, 1979) became the coin of the grindhouse and drive-in realms, many of them quite profitable, most of them exportable, virtually all of them deplored by the Antipodeon arbiters of taste and culture.
The history of these films and the filmmaking culture behind it is entertaining enough, but behind the great tales of Dennis Hopper on an alcohol and drug-fueled tear during Mad Dog Morgan (1976)and Barry Humphries proclaiming the projectile vomit gags of the early seventies Barry McKenzie films as “one of the great moments of Australian cinema” is a portrait of filmmaking on the professional frontier. These filmmaker didn’t just push the envelope of censorship, they created their own genre industry, which resulted in an anything goes attitude when it came to creating thrills.Read More “Not Quite Hollywood – Disreputable and Delirious Downunder Movies”