Jake Romane

And nothing to do with the fact that the action of Dirty Deeds takes place in 1969. This only made it possible to stylise – hats with margins on aunts and uncles, sunglasses like a dragonfly, non-color TVs. There is stylisation in the film, and everything is professional. The retro plot is no less convincing. The Australian chief racketeer, who feels great at home with a pool, wife, son, mistress, two henchmen and one jerk rival, was faced with two troubles – a nephew who returned from Vietnam, a kind avaricious knight without fear and reproach, and a couple of New York colleagues with the task to eat his business.

We are the one-armed bandits of the new generation, and you are the economy in the shop. One henchman was spanked, the other could no longer be trusted, his nephew would cover his back, but he would lead his mistress away. The racketeer mumbled, for the umpteenth time, agreed with his only true friend – the inspector of the local police, and cleared the situation in our way, in the Australian way. Everything is reliable in principle: silent bloody shooting, dry, endless desert, rusty pickup trucks, human relationships.

The director of the movie David Caesar did an excellent job depicting the casino gambling scenes in the movie. Barry Ryan, an Australian mobster, makes a huge income from the casino machines. If you pay close attention to these scenes, you will be astonished by their reality. The producers must have visited many online casinos as well as the real ones to include the smallest details in the movie meticulously. They learned the basics of casino machines, how they work, and hence effectively depicted them in Dirty Deeds. And when it comes to creating a good movie authentic, real depiction of events is important.

A bouquet of excellent actors is responsible for the authentic relationships. All are on their A game in the movie; Barry Ryan played by Bryan Brown, Tony Testano played by John Goodman, Sharon Ryan played by Toni Collette, detective Ray Murphy played by Sam Neill. In principle, they don’t know how to play badly, all of them are stars of the scale, but Neill, as the busiest on the set; he only had two weeks to crack his role.

There are so many things. There is where to smile and where to turn away. At the same time, cinema as a movie is completely hopeless. There is no subject. It is clear that either Brown will resolve the situation or not. In one case there will be a semblance of comedy, in another – a semblance of a thriller. But from today it is even clearer that in 1969 when the peasant was not in the system, not a politician or a tycoon, it meant a provincial, a trifle, a special case. Only in his narrow little world can he naively feel that he is in charge. Such peaceful racketeers are no longer and cannot be naivety is not forgiven even at the start, even on the uninhabited atolls of the Pacific Ocean, and nothing will save Dirty Deeds from the shallow dangers associated with the absence of a real conflict between the average person and the system. The impassivity of intonation does not save, and the philosophical and poetic ending does not save as well.

The system is a thousand times trickier than any hut, as well as a house with a pool, a wife, a mistress, two henchmen, one jerk rival, and even a little son would know this today, and the film has no idea about it. Therefore, when it is given two local Oscars and two more nominations and advertised as The Godfather from the country of Crocodile Dundee, it’s kind of awkward for the Australians.


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