CROCODILE DUNDEE
Australia, 1986, 92 minutes, Colour.
Paul Hogan, Linda Kozlowski, John Meillon, David Gulpalil, Mark Blum.
Directed by Peter Faiman.
Crocodile Dundee is a very enjoyable Australian comedy. It was a great box office success in Australia.
The film relies on Paul Hogan. He co-wrote the script with Ken Shadie; his partner John Cornell produced the film; television producer-director Peter Faiman directed. Paul Hogan stars as a variation on his television image. Michael 'Crocodile' Dundee is a Territorian, a man used to the open spaces and being alone, in contact with nature. However, he is genial, innocent and naive. There is, of course, the ironic touch to his humour and taking the mickey out of people.
The film's first part is safari in the Northern Territory - genuine safari material plus humorous variations on the theme including mesmerising a buffalo, an encounter with David Gulpilil in corroboree paint as well as trousers and watch, an encounter with a crocodile etc. The second part is a variation of the innocent abroad, critics pointing out that it was similar to Tarzan's New York Adventure. There is much humour in the innocent Dundee let loose in the big city. American audiences would enjoy the Australian in New York. The Australian audiences would enjoy the Australian's view of New York. Paul Hogan carries off the central role with ease and charm.
Stage actress Linda Kozlowski has strength and pleasant personality as the heroine. John Meillon has a good supporting role. David Gulpilil makes a guest appearance.
The film has been lavishly produced, uses Northern Territory locations well and highlights aspects of New York City. There is a jaunty score by Peter Best (Picture Show Man, Rebel). Photography is by Russell Boyd.
Crocodile Dundee certainly caught the mood of Australia in the mid-'80s.
1. Enjoyable entertainment? Box office success? Australia in the '80s: image, comedy, attitudes towards Americans and the United States? Success overseas?
2. Panavision photography, the Northern Territory locations, the old town, the terrain with its beauty and ruggedness, the focus on nature? Action sequences? The contrast with New York City, the crowds, lifestyle, society? The jaunty score with echoes of aboriginal music as well as contemporary melodies?
3. Paul Hogan and his writing the screenplay, the laconic Australian humour? The background of Paul Hogan's career on television, advertising, ambassador for Australia (and Australian of the Year 1985)? His image? The Australian public's like of his image? Dislike? An amiable fantasy caricature of an ocker Australian? The lovable larrikin? The background, Australia, his behaviour, stances, naivety and innocence, the way that he sees himself and the world? Visual humour, verbal humour? The contrast between the Australian section and the American section?
4. The plot: the outback and the safari? The contrast with the innocent abroad, the Australian Tarzan in New York? A blend for all audiences: Australians enjoying the local setting as well as the Australian abroad? Americans enjoying the Australian in the American context?
5. The focus on Australia: the contrast with the New York skyline and Sydney with the Opera House and harbour bridge? The contrast with the Northern Territory town, dusty roads, houses, the pub, the shambles, the car? The bar? The beauty and ruggedness of the Northern Territory? Dangers: snakes, buffaloes, crocodiles? The encounter with the aborigines? Australia and its vastness, loneliness? Nature? The impact of this focus on the Northern Territory - for Territorians, for the majority of Australians from the coast?
6. The contrast with the American experience: the jokes about the plane, the escalators, the lifts? The crowds in the streets and his saying 'Good day'? On the pole and the police horseman riding home with him? Washing his socks in the bath, hanging them on the line in the rich apartment, his bed on the floor? His knife - against the muggers? Television and I Love Lucy? His being amazed at New York? Thinking it friendly? The restaurant and his punching Richard? Antagonism towards Richard? Meeting the prostitutes and seeing them as women rather than as prostitutes, the pleasant conversation, punching out their pimp for swearing? The later bashing and Gus rescuing him? The muggers and the knife? Throwing the can and hitting the thief in the street on the head? Mesmerising the dogs? Friendliness with the taxi-driver and the drinks in the bar? The transvestite and checking him out? The party and the modern types, the transvestite and the repeat of the joke? The cocaine-taker and his helping him clear his nose? His attitudes towards sexuality - the hat in the bath? Society, the party types and chatter, the talk about the psychiatrist? The dinner and his disappointment with Sue's engagement? Going walkabout, the farewell to Ernie? The happy ending on the subway station - and the message being passed along with the crowds, Coo-ee, his being lifted over the crowd?
7. The contrast with New York: busy, modern, the crowds, hotels, streets, restaurants, newspaper offices, the ugly side of the American streets?
8. The contrast between the two: the open, earthy, practical, naive and gentlemanly Australian in urban, sophisticated, unfriendly, violent, weird and contemporary New York? How did the Australian image emerge
from this contrast?
9. Mick Dundee in Australia: the legend in his time, the humorous tall stories? His background - and the stories about being brought up with the aborigines, an orphan passed from home to home? The story of his marriage and the 18-month walkabout? Was any of this true? The hunter, the stuffed crocodile and the wrestling, the actuality of his injuries? The truth of this when he saved Sue from the Crocodile? The big knife? The kangaroo hunters and the clash with them, punching them out? His style, manner of talking, dancing with Sue? Kissing the man with the beer on his head and winning the bet? The safari: the jokes (shaving with the knife, telling the time from the sun after looking at the watch, wringing the snake's neck, roasting the goanna and producing the tinned food etc.), his attitudes towards Sue, calling her a Sheila and not expecting her to be able to be able to walk like a man (and stalking her for her protection)? His attitudes towards Sue - peeping at Sue, innocent - and hitting his head? The ordinary man and his naivety? The mesmerising of the buffalo? The clash with the kangaroo hunters - and his disguise as a kangaroo shooting back at them? The encounter with Nev, the discussion about the aborigines, participating in the corroboree, stopping Sue taking the photo? His work as a guide? His serious side? Liking Sue, the cracks, friendliness, help? His comment on the Apostles being fishermen, his going straight to Heaven and God and him being mates? Sue's challenging his ideas and opinions? Not having any and who would he tell them to in the Outback? His story about aboriginal rights: two fleas arguing about who owned their dog? His attitudes towards cities? His old-fashioned gallantry towards women? Punching people who swore in front of them? Ideal: tough, innocent (yet learning) Australian?
10. Sue: in Sydney, working for her paper, charm and strength, resourceful, the encounter with Walter, listening to his stories, the hotel, the meeting with Mick, the safari and her amazement, the dangers, her being a Sheila and challenging him, being saved from the crocodile, being grateful, the invitation to New York - a pass? To New York, coming home, meeting Richard again, taking Mick to his apartment, the dinner party, the fashionable party and her enjoying his responses to people, pretending to be the maid with the towels, her father's dinner, society, the engagement, chasing him, shoes off in the street, in love with him? The fact of her going on safari and enjoying it as basis for the possibility of her marrying him?
11. John Meillon as Walter: proper, the ramshackle car and vehicle, his stories, awkward and good-mannered? Mick's comment that he was the psychiatrist - tell him and he tells the town and then there's no problem? The phone calls? Perpetuating the legend?
12. The town, the drinkers, the big man who wouldn't spill any beer from his head when punched, but spilt it when kissed? ship? Ida? Friendliness?
13. The raucous material? The kangaroo hunters and the Territorians looking down on them, city hunters, their bad manners, Mick's punching them? The raucous kangaroo shoot and its brutality? Sue's reaction? Urging Mick to do something? The Skippy disguise and his shooting back at them as a kangaroo?
14. The aboriginal theme: the question of land rights? Nev Bell and David Gulpilil's reputation? His jokes? Stealing up on the group, corroboree paint? His watch? His joke about the camera? His friendliness, chat with Mick? Mates? The corroboree - and Mick signalling to Sue not to take the photos? The corroboree and the dance? Asking Gus if he was tribal? The boomerang-throwing? An affectionate respect for the aborigines?
15. Richard and his pompous manner, treatment by Mick, laughing at him, the engagement? Sue's father and the running of the paper, the winner, the engagement, taking her to Mick?
16. The friendly taxi-driver and the drinks, Gus as chauffeur and listening to Mick, chatting with him, the question about his being tribal? Ernie at the door and the friendliness of Mick? The mounted policeman? The prostitutes and their friendliness, being amazed at him? The challenge of the pimp? The people at the party, the transvestite in the bar? The crowds?
17. Predictable comedy: genial lone, laconic, ironic, taking the mickey out of people?
18. A reflection of the Australian image? Of the image of the '80s?
