Razorback (1984)

Russell Mulcahy

The creator of Judge Judy wrote a book about a killer boar. It was adapted into a film in Australia in the 1980’s. Because the robotic boar never worked the film became about crazed pet food factory workers and a sign of Australia’s acceptance of its crazed underbelly.

 

Razorback is often unfairly described and derided as Jaws with a Boar.

Oh, if only it were that simple!

Razorback is barely a film about a giant boar. It is, at times, barely a film about anything. What it is though is an unwitting bridge between the 1971 bleak reality of Wake in Fright to the 1986 smash hit of Crocodile Dundee. Wake in Fright was an unflinching exploration of the nihilistic and drunken Australian psyche as experienced by a stranded school teacher in an outback town. It was a box-office failure and long lost in Australia as it was considered too unflinching in its depiction of the otherwise heavily romanticised Australian outback and inhabitants. Crocodile Dundee is essentially the same story as Wake in Fright but transformed into an extended tourism shoot and embrace of the foreign other with the drunken nihilism white-washed into a blokey fun.

Razorback forms part or all of the model which allowed Crocodile Dundee to make this transformation. Razorback backgrounds the drunkenness and hostility of the people it is populated by and the landscape they inhabit as it focuses upon the phantom dangers of a giant razorback boar. Crocodile Dundee would use the same tactic with the unreasonably ever-present danger of crocodiles.

Arguably this is a lot to lay on Razorback which some would argue is a film which is barely watchable. Directed by an untested Duran Duran and Spandau Ballet music video director it is full of set-pieces which veer dangerously close to proto steam-punk. The

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Greg Harrison was chosen over the lesser known Jeff Bridges.

producers passed on Jeff Bridges as the protagonist in favour of the lost to history and very underwhelming Gregory Harrison. The opening scene is a brutal exploitative reference to the Azaria Chamberlain dingo death in a story line which is never quite justified and then promptly abandoned. The eponymous boar, like Bruce the shark in Jaws, was apparently generally faulty and, so, is hardly seen. Instead the films prevalent and larger threat comes from the unpredictable and sexually violent local pet food factory workers.

Despite all this it is a cult classic and features prominently in the schlock aussie film documentary Not Quite Hollywood where Quentin Tarantino claims it is one of his favourite Australian films. Also, to the films merit, almost everyone in the crew (though not the cast) has gone on to have extensive careers in Australian and international film and television.

The most confusing aspect beyond the finished product are the films origins. Judge Judy creator, Peter Brennan, wrote two novels. One was Razorback and another was Sudden Death, a tennis thriller. He also co-authored another novel about the Kennedy brothers. When not writing schlock books he was an American television producer, writer, and journalist most well known for being the creator and executive producer of Judge Judy and its spin-offs as well as Current Affair and Good Day New York.

Filmed in Broken Hill and with many of the same crew from Mad Max 2 the film relies heavily on a hostile Australian outback and its weathered inhabitants for a threatening tone. It’s hard to know what was changed from the source material and assumedly American context of the book and to what degree, if any, the aspects of the township and its inhabitants were tacked on by the Australian film-makers. Unfortunately, and for whatever reason (scarcity, cult appeal, happenstance or price-fixing script-writing errors) copies of the Razorback novel are hard to find and often expensive (some around $150 at time of writing).

The director, Russell Mulcahy, had mainly worked as a music video director until Razorback. He would go on to direct Highlander, one of the Resident Evil films and a swathe of tv. His music video past is obvious in this, his debut. The film often looks like a music video with mist/fog and coloured backlit backgrounds filmed from low camera angles. There is also a hallucinatory dessert sequence that an IMDB review thought worthy enough to describe as ‘one of the most beautiful horror films not made by an Italian giallo master’.

In the absence of a working robotic boar and for story purposes too arbitrary or confusing to go into here the film focuses a lot of its time upon the ambivalently evil brothers Benny and Dicko, and their work in the town’s pet food factory. The factory is

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RAZORBACK, from left: David Argue, Chris Haywood as Dicko and Benny 1984, © Warner Brothers

ramshackle, malfunctioning, and mostly abandoned. There is some loose arrangement where local boar hunters supply carcasses to the factory but, judging by the surplus of body parts littered throughout the place, Benny and Dicko don’t seem to know how to process the mutilated offerings. Nonetheless the factory is a perfect place for director Mulcahy to fill with fog and film silhouettes garishly backlight in red and blue. Benny and Dicko are alcoholics who live in a cave, and are constantly changing into ever more outlandish fur coats and hats yet they appear to be the managers of the factory and the skeleton staff of heavy browed labourers. What’s more they take their work seriously. Throughout the film they abandon acts of rape, kidnapping, and murder so they can race back to the gore-ridden factory and hammer furiously at broken steam valves and jumpy conveyor belts.

Within the three films of Wake in Fright, Razorback and Crocodile Dundee a foreign other experiences the Australian outback and witness brutal hunting scenes. The infamous kangaroo hunting scene in Wake in Fright was shot with real kills and real drunken hunters and, not surprisingly, is extremely brutal in its violence and malice. In Razorback the acted drunken hunting is shot through backlit fog and becomes a music video and chance for the story, such as it is, to propel the protagonist towards his stand-in love interest. Crocodile Dundee sets up the same drunken kangaroo hunting scene for the same purpose of character. The drunken hunters are foiled by Mick Dundee at the behest of the shocked reporter. It is a chance for the suddenly honourable protagonist to distance himself from what were previously drunken brethren.

The transformation of the outback from the realism of Wake in Fright into the surrealism of a strange unexplained place in Razorback is also heavily reused in Crocodile Dundee as the hostile landscape takes on a level ambiguous spirituality. Wake in Fright focused upon the plight of an innocent school teacher trapped in the outback town and, so, underserved of the drunken excess he is subjected to. Razorback and Crocodile Dundee alter this dynamic by both using a New York reporter blundering into Australia with a missionary ideal and the hubris of reporting on the savagery of a foreign land. This sin of pride allows Razorback to justify the reporter’s hostile reception as it simultaneously draws upon Wake in Fright in its portrayal of the habitants as lost, drunken and manic within a landscape they exist to ruin.

Benny and Dicko are never really allowed to be evil however so much as psychotic cartoon characters. The rest of the town accepts them just as they accept the boar hunter whose son dies at the beginning of the film and is suspected (like Lindsay Chamberlain) of inventing the creature to cover up murder. It is difficult to know then if in this world all the inhabitants are twisted, or they are simply strangely accepting. Razorback never examines these or other questions long enough to provide any hint of underlying meaning. Similarly, the film refuses to encourage any sort of thematic interpretation in its frenetic pacing and continued priority of style above all else (including horror).

Crocodile Dundee becomes a much more gracious film as it choses to overlook the arrogance of the reporter and, instead, provides Mick Dundee as guide which allows the New Yorker to see and experience beauty in outback Australia and a degree of invented pathos to its isolated pub-going inhabitants.

Which isn’t to say, necessarily, that either Wake in Fright or Crocodile Dundee are morally right or wrong. Each have their problems and their ulterior motives. Wake in Fright wanted to be a frank and brutal look at Australia. Crocodile Dundee wanted to sell Australia to the world and show how foreign visitors could enjoy even its most isolated extremes. Razorback is great because of the fact it does exist in a blank middle-ground. It is a film which is aware of the faults of Australia and any attempt to portray it. But rather than worrying about this the film leans into being as brutal, fast and psychotic as it can in this portrayal. It merges the tropes of American music videos onto the Australian outback and one-pub towns. It doesn’t care about its perception or treatment of Australia, Australians or its overseas visitors and, as a result, and like many the Ozploitation classics is much more interesting and Australian than its mainstream contemporaries or forebears.

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Dark Shadows (2012)

Tim Burton

A movie which falls flat even as it hints at what it could have been.

Eva Green is as always great even as she chews the hell out of the scenery and loves every second of it. As both actor and character Green dominates Johnny Depp who seems restrained and unsure of his choices. The basic story, based upon a 70’s TV show I’ve never seen, is ok and the fish out of water concept of a vampire waking up in the 1970’s is flimsy but fun even as the movie seems to seek to avoid period settings and the political spirit of the times.

This film could have been a lot of things. Even some simple editing changes may have been enough to fix it. I know characters are based upon tv source material but Chloe Grace Moretz’s character, as much as I love her and as fine as she is in this with what little she has, could have been edited out with little alteration to the story. The same could be said for Johnny Lee Miller who, too, is fine but seems to be given unnecessary screen time because… well… he’s Johnny Lee Miller.

A cameo from an old Alice Cooper breaks the suspension of disbelief while also acting as the only highlight in a film that in its third act becomes confusing and boring. This movie plays out as if perhaps in an earlier cut there was a longer running time which explained or justified some of the sub-plots. It is this kind of half commitment which is its biggest failing.

That said Eva Green is great even if it is a worry that she seems likely to become trapped in these schlocky genre films. She highlights too that this by now familiar Burton ensemble of Depp, Bonham-Carter, and Elfmen needs new life. After so many awful films over the last two decades I’ve no interest in seeing any film with Johnny Depp directed by Tim Burton. Green’s role in this film though hints at the possibility that Burton could regain a sort of relevance if he was to work with new people. He needs people that are actually thrilled and excited to be in his world. Who are fans rather than freinds, peers or ex-spouses.

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Yoga Hosers (2016)

Kevin Smith

This is a hard movie to like. Even as a massive Kevin Smith fan and, on occasion, apologist. I admire his mantra of creation for creations sake as well as the merit value of the unusual creation.

I respected Tusk for its uniqueness, consistency and serious tone while dealing with otherwise ridiculous material. Yoga Hosers, by contrast, doesn’t apply the same consistency. The movie quickly abandons its light-hearted bubble-gum sense of fun and is distorted by the more recent tropes of the view askew universe and smodcast network. Such tropes in Tusk (other than the plot) were sidelined or hidden as Easter eggs.

Yoga Hosers becomes confusing as it references not only the early View Askew films but also the real world of Smith’s podcast network as well as also attempting to establish a new ‘true north’ universe. It’s a lot to pile on top of a movie not driven by a strong story. Instead Yoga Hosers is more about the central characters. Lilly Rose Depp is confident and great and Harlequin Smith has her own sort of charm as she nervously tests the waters of acting alongside her childhood friend. The girls’ chemistry brings a strange sort of meta dynamic to the movie. Meanwhile there are a range of great cameos including Tony Hale, Natasha Lyonne and Adam Brody.

Kevin Smith’s disclaimer to the bubble-gum colour palette, soundtrack and light-heartedness of this film is that it is aimed at teen girls. Unfortunately, though the third act becomes almost self-indulgent and extremely referential to Kevin Smith and Ralph Garmin’s Hollywood Babble-on podcast. This isn’t really a podcast anyone could expect teen girls to be familiar with. Also, the charm of that podcast is that it is recorded live and so is relatively spontaneous and chaotic. Scripted it feels contrived, static and robs the movie of momentum.

There are moments to like but the movie is too many different things jammed together. What could have been a sweet character based coming of age film driven by a fun sense of chaos is lost underneath all the other noise bursting in from around the film.

Dead Snow (2009)

Tommy Wirkola

I re-watched this film at the start of 2017. It was around this time I started keeping track of what I was watching and reading. Mainly because I was bored and housebound. I had wondered if perhaps some sort of pattern might emerge in my media consumption. Or, if nothing else, I might start to understand what I kept coming back to and perhaps what I should concentrate on in the future.

As far as I can remember I’ve only seen this film twice. The first time was circa 2004 when I hired it from a video store in Preston. It had a little more novelty then. Though consuming foreign indie film was much different as well.

*edit: the films wasn’t released until 2009. I had moved back to near Preston and was hiring videos from a different but similar store.

Twelve years (actually eight) later this sort of idea of the double hinged camp horror film has been fairly well mined and yet this film still holds up well. The zombies look great, it’s all shot perfectly and the acting is fine. The plot is bare and doesn’t try to do anything other than play as expected. Group of friends travel to remote location, a ghost story signposts coming horror, said ghost(s) materialise and kill and terrorise until what is left of the group can turn on and destroy the ghosts.

For the budget this is a good film and I respect how well they executed a flimsy concept. Still I don’t think I’ll watch this a third time. Though still I’m curious about the sequel even as everyone campily combines Nazis into their speculative/sci-fi/horror stories. It’s true there’s nothing more evil then a Nazi. It’s depressing though seeing true evil so easily defeated by sexed up bumbling Norwegian teens. Even Bed knobs and Broomsticks treated the concept more seriously.