Granted, I haven’t seen everything, but it’s hard to believe there’s a more outrageously entertaining movie at this year’s Fantastic Fest than Mark Hartley’s “Ozsploitation” documentary Not Quite Hollywood. Virtually the entire history of the Australian film industry from its inception in the early ‘70s to the rise of home video in the late ‘80s is crammed into its 110 minutes, with a decided emphasis on drive-in fare over gauzy period pieces. And what drive-in fare it was – based on the evidence here, the Aussie exploitation movies were faster, cheaper, gorier and downright crazier than their American counterparts.
In the beginning, there was no Australian film industry outside the occasional international production such as Age of Consent with James Mason. With the introduction of the R rating in 1971, all of that changed. It began with lewd and crude sex comedies like The Adventures of Barry McKenzie and the very popular Alvin Purple series, featuring Fosters-swilling Outback yahoos getting it on with large-breasted, very nude women. By the middle of the decade, these movies had given way to action and horror pictures, most of them little-known in America. Aussie Roger Cormans like Brian Trenchard-Smith and Antony I. Ginnane churned out exploitation films with titles like Turkey Shoot, The Man from Hong Kong, Dark Age and Dead-End Drive In.
Apparently there wasn’t much in the way of regulation and oversight in those days; as we learn from interview subjects ranging from Barry “Dame Edna” Humphries to – of course – Quentin Tarantino, the makers of these films had few qualms about staging car crashes on public roads or setting their actors on fire. The stuntmen were up for seemingly anything, as you can see in the trailer below. (The official Not Quite Hollywood site has a number of vintage trailers for these films as well.) As with the Corman factory, a number of “respectable” filmmakers got their starts in Ozploitation, including Simon Wincer, Bruce Beresford and of course, George Miller. A few productions had sufficient budgets to import an American star or two, such as Stacey Keach and Jamie Lee Curtis for Roadgames and (most memorably) Dennis Hopper for Mad Dog Morgan.
Admittedly, this subject matter is right up my alley. As I never fail to remind you, my book Hick Flicks: The Rise and Fall of Redneck Cinema (which makes a great Halloween present) deals with the Southern-fried drive-in movies of the ‘70s and ‘80s, so watching Not Quite Hollywood was like stumbling upon a hidden mirror universe of that era. The Aussies even have their own word for redneck – “ocker” – and certainly a fetish for automobile culture to rival our own. (They also have spectacular, desolate locations, great accents and funny words like billabong and didgeridoo, and for these reasons and many others, I plan on catching up on some of these movies by launching a new weekly Ozploitation series here at the Screengrab, starting this Thursday.)
Not Quite Hollywood isn’t perfect – for all its encyclopedic breadth, it barely touches on the Aboriginal actors in Aussie cinema – but it’s a raucous, informative and often very funny roller coaster ride through a neglected time and place in film history.
