Podcasts about Breaker Morant

This week, we discuss two horror films from director Tobe Hooper. The first is The Funhouse (1981), which follows a group of teens who sneak into a carnival funhouse for a night of thrills, only to be hunted by a monstrous killer lurking within. The second is Poltergeist (1982), which tells the story of a suburban family whose home becomes haunted by vengeful spirits, leading to a desperate fight to rescue their youngest daughter from the supernatural realm.   Timestamps What we've been watching (00:01:00) – The Last of the Mohicans, Novocaine, The Irishman, Breaker Morant, Fourth of July, The Beatles: Get Back, Beautiful Boy, Emilia Perez The Funhouse (00:33:10) Poltergeist (00:52:45) Coin toss (01:16:48)   Links Instagram - @callitfriendopodcast @munnywales @andyjayritchie   Letterboxd – @andycifpod @fat-tits mcmahon   Justwatch.com – streaming and rental links - https://www.justwatch.com

In the third week of February 1902: the first Australian senators select a sweet site for our national capital and the first Australian commonwealth soldiers embark for overseas service... right as Australia's first prime minister and first opposition leader act as bipartisan boosters for Britain's conduct in the Boer War... unaware the Poms are about to execute Australian legend Breaker Morant. Plus: stupidity steers Sydney into a Bubonic Plague sequel right as Melbourne's larrikin criminal leader of 'The Crutchy Push' faces court in a follow-on from a notorious Crutchy murder case.For a free trial and access to ad-free, early and bonus episodes:Patreon: patreon.com/forgottenaustraliaApple: apple.co/forgottenaustraliaFor The Plague Returns:https://shows.acast.com/forgotten-australia/episodes/the-plague-returns-part-one-the-bays-of-bloodhttps://shows.acast.com/forgotten-australia/episodes/the-plague-returns-part-two-bigger-than-ben-hurhttps://shows.acast.com/forgotten-australia/episodes/the-plague-returns-part-three-the-great-fireFor ABC Rewindhttps://www.abc.net.au/listen/programs/the-history-listen/the-history-listen-crutchy-push-disability/104452972For Australia's Most Bizarre Crimes:https://www.booktopia.com.au/australia-s-most-bizarre-crimes-peter-coleman/book/9781923046269.htmlTo buy They'll Never Hold Me:https://www.booktopia.com.au/they-ll-never-hold-me-michael-adams/book/9781923046474.htmlThe Murder Squad:https://www.booktopia.com.au/the-murder-squad-michael-adams/book/9781923046504.htmlHanging Ned Kelly:https://www.booktopia.com.au/hanging-ned-kelly-michael-adams/book/9781922992185.htmlAustralia's Sweetheart:https://www.booktopia.com.au/australia-s-sweetheart-michael-adams/book/9780733640292.htmlEmail: forgottenaustraliapodcast@gmail.com Hosted on Acast. See acast.com/privacy for more information.

What does this 1980 film, based upon the true story of a series of courts-martial carried out toward the end of the Boer War at the turn of the 20th Century, tell us about the morality of guerilla war, and responses to such tactics? What defense is presented for the actions of the members of the Bushveld Carbineers in placing civilians at the head of trains, and for their summary execution of POWs? Does the film accurately portray the courts-martial as being carried out for primarily political reasons? Did the overall commander of British forces, Kitchener, actually order POWs shot, as the defense claims? How does the case resemble similar cases during WW II and the Vietnam War? Why has there been a tendency in Australia to excuse or Lionize Morant? Should he be lionized? What do Australian authors Peter Fitzsimons and Kit Denton now believe?

7-SEPTEMBER-1901. While serving with the Bushveldt Carbineers, a British Irregular Mounted Unit, during the Second Anglo-Boer War, Lt Harry Harbord Morant, better known as "Breaker Morant" allegedly ordered the execution of eight Boer Prisoners of War, along with several Dutch civilians, and a German Missionary. For this act, Breaker Morant is one of the first British Subjects, charged, tried and convicted for War Crimes. And while he claimed to be following orders, at what point does just doing your job constitute unlawful killings of non-combatants? From Duty to Dishonour is a backer-exclusive podcast that tells the story of those service personnel who didn't live up to the societal expectations of what an Australian Service person represents, but their story still deserves to be told. --- Buy the Podcast a Ko-Fi ⁠https://ko-fi.com/iwasonlydoingmyjobpodcast ⁠ Join our Patreon https://www.patreon.com/IWODMJ --- Linktree https://linktr.ee/iwodmj For Show Notes, transcripts and photos check out the I Was Only Doing My Job Website at www.thedocnetwork.net Access to the Discord Server ⁠https://discord.gg/v3Vpb9Fhsj⁠ Find the Podcast on Facebook ⁠https://www.facebook.com/IWODMJ⁠ Twitter ⁠https://twitter.com/iwodmj⁠ Instagram ⁠https://www.instagram.com/iwodmj⁠ Mastodon ⁠https://mastodonbooks.net/@IWODMJ/⁠ YouTube ⁠https://youtube.com/@iwasonlydoingmyjobpodcast

Filmmaker, critic, video essayist and author Scout Tafoya joins the show to discuss the work of undersung journeyman Bruce Beresford and his brilliant 1991 film 'Black Robe', a story of faith, the frontier, and the church as a pernicious vestige of the European colonial project. Set amidst the 17th Century French conquests of North America in modern-day Quebec, the film follows the titular Black Robe, Father Laforgue, a Jesuit Missionary tasked with bringing Christianity to the indigenous populations of the region. As he ventures deep into Huron territory with his company of Algonquin guides, the limits of his faith and reason are tested, as it becomes clear that his beliefs and the promises they supposedly carry can find no purchase with a people who have no need for them. Greenlit in the wake of the success of 'Dances With Wolves' and cashing in on an exceptional amount of goodwill Beresford had accrued after directing the Academy Award-winning 'Driving Miss Daisy', the film is a brilliant study of self-deception, and the profoundly human impulses of one's perceptions of the divine. We discuss Beresford as filmmaker, his history as a contemporary of Australian greats Peter Weir and George Miller, and why his work deserves an immediate and vast reappraisal. Then, we discuss 'Black Robe', its exacting observations of faith and imperialism, and its unusually sensitive and well-researched portrayals of indigenous American tribes. Finally, we talk about other films in the canon of great portrayals of faith and the frontier, including Michael Mann's gorgeous 'The Last of the Mohicans' and Martin Scorsese's late-period masterpiece 'Silence'. Follow Scout Tafoya on Twitter. Support Scout's video essay work and criticism on Patreon.Buy Scout's book 'But God Made Him a Poet: Watching John Ford in the 21st Century".Get access to all of our premium episodes and bonus content by becoming a Hit Factory Patron for just $5/month.....Our theme song is "Mirror" by Chris Fish. 

Summary:On Memorial Day, Tom analyzes the film A Few Good Men (1992) from a libertarian perspective and its similarity to the earlier film, Breaker Morant (1980).Links:A Few Good MenBreaker MorantReal Lawyer Reacts to A Few Good Men (with Real JAG!)Free Gifts from Tom:Download a free copy of Tom's new e-book, It's the Fed, Stupid, at itsthefedstupid.com. It's also available in paperback here.It's priced at a pre-hyperinflation level so grab a few copies for friends if you can.It makes a great introduction to the government's most economically damaging institution for liberals, conservatives, libertarians, socialists, and independents alike.Check out Tom's new podcast, Tom Mullen Talks Movies!Like the music on Tom Mullen Talks Freedom?You can hear more at tommullensings.com!

We continue #FebWARary with director Bruce Beresford's BREAKER MORANT, which covers the very well-known (to Americans) Second Boer War. We attempt to offer a small background on the War as we discuss this Academy Award-nominated film, which follows three soldiers court-martialed by their own military. Also, Erica discovers the movie was based on true events (but also, frustratingly, a play), Marc can't stop thinking about AGAINST ALL ODDS, and all three hosts reveal their own personal code. For more about this podcast, including our original t-shirts, head to www.newworldpicturespodcast.com. 

RMR 0240: Special Guest, Bill Van Veghel from the Land of the Creeps & Phantom Galaxy Podcasts, joins your hosts Bryan Frye and Dustin Melbardis for the Retro Movie Roundtable as they revisit Breaker Morant (1980) [PG] Genre: Drama, War, History, Courtroom Starring: Edward Woodward, Jack Thompson, John Waters, Bryan Brown, Charles 'Bud' Tingwell, Terence Donovan, Vincent Ball, Ray Meagher, Chris Haywood, Russell Kiefel, Lewis Fitz-Gerald, Rod Mullinar, Alan Cassell, Rob Steele, Chris Smith, Bruno Knez   Director: Bruce Beresford Recorded on 2023-11-09

As we draw towards the end of our 6th Season and chalk up 450+ episodes, it's time we reach into the archive to feature conversations and creatives previously featured on STAGES. We spotlight such episodes, in case you missed them first time ‘round - or so you can simply savour a second listen. The STAGES podcast opens an essential doorway to access precious oral histories from the people who were, and are, on and around our stages. Conversations with Creatives about Craft and Career!John Waters is one of Australia's most recognised and favourite actors. His theatre credits span productions in Australia and the United Kingdom. Demonstrating terrific versatility, John has taken lead roles in an array of plays, musicals, television and film.  He was featured on the STAGES podcast in October, 2020.He made is debut as Claude in Harry M. Millar's production of Hair. Subsequent performances include Godspell, Jesus Christ Superstar, They're Playing Our Song, An Ideal Husband, The Woman in Black, A Little Night Music, Talk, The Sound of Music, The Graduate, Oliver!, Rocky Horror Picture Show, My Fair Lady and The Addams Family. As well as his 20-year involvement with the iconic Australian children's show Play School, his other television credits include City Homicide, The Mystery of a Hansom Cab, The Man from Snowy River, Singapore Sling, All The Rivers Run, Rush, All Saints, Underbelly: The Golden Mile, Offspring, Mystery Road and Division 4 for which he was awarded the TV Week Silver Logie for Best New Talent in 1975. His impressive list of feature film credits includes Stealth, The Sugar Factory, High Country, Breaker Morant, Eliza Frazer and Pino Amenta's Boulevard of Broken Dreams for which he received the AFI (AACTA) Best Actor Award.The STAGES podcast is available to access and subscribe from Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Follow socials on instagram (stagespodcast) and facebook (Stages).www.stagespodcast.com.au

Bryan Brown's acting career started in the 70s with films like The Odd Angry Shot and Breaker Morant and he quickly became a fixture on our screens, and still is. But he's also a producer and a writer of books, his most recent titled The Drowning. He doesn't think about death much, has no plans to retire, and keeps fits by surfing whenever he can.See omnystudio.com/listener for privacy information.

Barrett Fisher and Sam Mulberry meet up in the video store to talk about the 1980 film Breaker Morant and to get Barrett's film recommendation for next week. For more information about Video Store or to find all of our episodes, check out our website: https://videostorepodcast.wordpress.com/

We had to South Africa this week with Bruce Beresford's 1980 Second Boer War epic, Breaker Morant!Facebook - https://www.facebook.com/ScuttlebuttMovieReviewsInstagram- https://www.instagram.com/scuttlebuttreviews/?hl=enYoutube -https://www.youtube.com/channel/UCwbgZzUyQc--6MUwA_CtFvQPatreon -https://www.patreon.com/Scuttlebuttpodcast

Magic Hour is an occasional Letterboxd series in which perfectly matched filmmakers have a conversation with each other. In this episode, Talk to Me directors Danny and Michael Philippou (of YouTube channel RackaRacka fame) get into the details of directing with Australian legend George Miller, creator of the Mad Max franchise and the Babe films. The trio talk editing, being twins, Buster Keaton, making Babe better, pure film language, building great action sequences, Australia's film history, great one-shot scenes, banging trailers, editing on the go and the great Margaret Sixel. Watch this conversation on our YouTube page. A note from the team: This interview was conducted during the 2023 WGA and SAG-AFTRA strikes in accordance with the DGA contract, which was ratified in June 2023. Without the labor of writers and actors currently on strike, many of the films we cover wouldn't exist. Sponsor: Talk to Me (A24) in theaters everywhere July 28th. Credits: Produced by Gemma Gracewood, edited by @CultPopture and slim. Production coordinator: Sophie Shin. Editorial producer: Brian Formo. With thanks to Courtney Mayhew and Ahi. Music from Junkie XL, Takara, and Sadistik. Films mentioned, Talk to Me, Mad Max, Mad Max 2, Mad Max: Fury Road, Furiosa, The General, Safety Last!, Ben-Hur, The French Connection, Bullitt, Duel, The Story of the Kelly Gang, Breaker Morant, Picnic at Hanging Rock, My Brilliant Career, Jedda, Nursery Rhymes, Babe, The Godfather: Part II, The Fabelmans Also mentioned: Kevin Brownlow's book on the silent screen, The Parade's Gone By.

Jump into the unknown...at least Matt and Doug's unknown as we start a season of unseen films. Ethics of war? Nicknames? More than anything tune in for Matt or Doug to say something only to have it immediately repeated in a clip. Season 10 is off and running! --- Send in a voice message: https://podcasters.spotify.com/pod/show/mattanddoug/message

This episode examines Breaker Morant, the 1980 Australian New Wave film depicting the military trial of Harry ("Breaker") Morant and two other Australian soldiers for war crimes committed during the Second Boer War in South Africa. The film, directed by Bruce Beresford, offers a gripping account of the trial and raises a host of questions about law and justice during wartime--questions that are as relevant today as they were when the trial took place more than a century ago. I am joined on this episode by veteran attorney Michel Paradis, who has served as military defense counsel in landmark war crimes trials at Guantanamo Bay and who has written widely about issues of international law and military justice. Michel is a lecturer at Columbia Law School in New York and a partner at Curtis, Mallet-Prevost, Colt & Mosle LLP. Timestamps:0:00       Introduction    6:15     An age-old question: Can you deny justice to the guilty?8:04     Breaker Morant as both courtroom drama and western9:14     Who was Harry "Breaker" Morant?9:54     A new kind of war?12:08   People who commit atrocities don't usually think they're the bad guys15:10   The superior orders defense20:22   The politics of war crimes trial28:28   The defense lawyer as hero in legal dramas37:36   Did the defendants get a fair trial?40:00   The law of reprisals46:20   Echoes of the My Lai massacre case49:17   Defense counsel's closing: War changes men's nature50:44   The Australian New Wave51:49   The trial's aftermath57:24   Why should everyone see this film?Further reading:Boslaugh, Sarah, “'Breaker Morant' Is an Epic Tale, Set during the Boer War,” Pop Matters (Oct. 15, 2015), https://www.popmatters.com/breaker-morant-2495479235.htmlBuckmaster, Luke, “'Breaker Morant': rewatching classic Australian films,” The Guardian (June 19, 2014), https://www.theguardian.com/film/australia-culture-blog/2014/jun/19/breaker-morant-rewatching-classic-australian-filmsDavies, Glenn, “Criminal or hero: The life of ‘Breaker' Morant,” Independent Australia (Mar. 4, 2022), https://independentaustralia.net/australia/australia-display/criminal-or-hero-the-life-of-breaker-morant,16113Gardner, Susan, “Can you imagine anything more Australian?: Bruce Beresford's 'Breaker Morant'” Kunapipi, vol. 3, issue 1 (1981), https://ro.uow.edu.au/cgi/viewcontent.cgi?referer=&httpsredir=1&article=1094&context=kunapipiSinyard, Neil, “'Breaker Morant': Scapegoats of Empire,” The Criterion Collection (Sept. 23, 2015), https://www.criterion.com/current/posts/3713-breaker-morant-scapegoats-of-empire        Law on Film is created and produced by Jonathan Hafetz. Jonathan is a professor at Seton Hall Law School. He has written many books and articles about the law. He has litigated important cases to protect civil liberties and human rights while working at the ACLU and other organizations. Jonathan is a huge film buff and has been watching, studying, and talking about movies for as long as he can remember. For more information about Jonathan, here's a link to his bio: https://law.shu.edu/faculty/full-time/jonathan-hafetz.cfmYou can contact him at jonathanhafetz@gmail.comYou can follow him on X (Twitter) @jonathanhafetz You can follow the podcast on X (Twitter) @LawOnFilm

Pictures Powwow is the show in which we discuss a film that has been recommended whether it by us or you the listening people! In this episode, we covered "Breaker Morant" (1980) which came highly recommended from Ryan.  Filmbusters' recommendation for the next episode is “44 inch chest” (2009), so make sure to check that out. If you have any feedback, questions, comments, recommendations or interested in having your podcast promoted on the show make sure to email us at spitandpolished@gmail.com  FOLLOW US: Twitter: @SpitPolishPre Facebook: https://www.facebook.com/spitandpolishpresents/ LISTEN ON: Apple Podcasts: https://itunes.apple.com/au/podcast/spit-polish-presents/id1059224536 Spotify:https://open.spotify.com/show/5ycjMXxAbhlcSEEpihSax0 Podbean: http://spitandpolish.podbean.com/ RadioPublic: https://radiopublic.com/spit-polish-presents-6VQzVW TuneIn: https://tunein.com/podcasts/Comedy-Podcasts/Spit--Polish-Presents-p1087434/ iHeartRadio: https://www.iheart.com/podcast/269-spit-polish-presen-29693268/ Stitcher: https://www.stitcher.com/podcast/spit-polish-presents Also, make sure to check out FilmBusters Podcast! Listen at: https://www.filmbusterspod.co.uk/ Follow at: @@FilmBustersPOD

Pictures Powwow is the show in which we discuss a film that has been recommended whether it by us or you the listening people! In this episode, we covered "Treasure Island" (1988) which came highly recommended from Bartek.  Ryan's recommendation for next episode is “Breaker Morant” (1980) so make sure to check that out. If you have any feedback, questions, comments, recommendations or interested in having your podcast promoted on the show make sure to email us at spitandpolished@gmail.com  FOLLOW US: Twitter: @SpitPolishPre Facebook: https://www.facebook.com/spitandpolishpresents/ LISTEN ON: Apple Podcasts: https://itunes.apple.com/au/podcast/spit-polish-presents/id1059224536 Spotify:https://open.spotify.com/show/5ycjMXxAbhlcSEEpihSax0 Podbean: http://spitandpolish.podbean.com/ RadioPublic: https://radiopublic.com/spit-polish-presents-6VQzVW TuneIn: https://tunein.com/podcasts/Comedy-Podcasts/Spit--Polish-Presents-p1087434/ iHeartRadio: https://www.iheart.com/podcast/269-spit-polish-presen-29693268/ Stitcher: https://www.stitcher.com/podcast/spit-polish-presents

Garry Stevens of the History in the Bible Podcast and Australian born and bred takes us through an interesting piece of Australian history and historiography, the story of military officer Breaker Morant. Morant found himself on the wrong side of military law in the Boer Wars in early 20th century South Africa. Should Breaker be left on the scrap heap of history or should we examine his complicated life and death more? Learn More About Our Guest:Garry Stevens, Australian and Host of the History in the Bible Podcast https://www.historyinthebible.com/ You can learn more about Beyond the Big Screen and subscribe at all these great places: www.atozhistorypage.com www.beyondthebigscreen.com Click here to support Beyond the Big Screen! https://www.subscribestar.com/beyondthebigscreen https://www.patreon.com/beyondthebigscreen Click to Subscribe: https://www.spreaker.com/show/4926576/episodes/feed email: steve@atozhistorypage.com www.beyondthebigscreen.com https://www.patreon.com/historyofthepapacy Parthenon Podcast Network Home: parthenonpodcast.com On Social Media: https://www.facebook.com/groups/atozhistorypage https://www.facebook.com/HistoryOfThePapacyPodcast https://twitter.com/atozhistory Music Provided by: "Crossing the Chasm" Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 3.0 Licensehttp://creativecommons.org/licenses/by/3.0/ Image Credits: Begin Transcript:

Aunty Donna's Zachary Ruane chats with Pete Helliar about his 3 favourite films; ; Mulholland Drive; Chef and Zoolander, then takes a deep dive into watching the classic Aussie Boer war movie Breaker Morant. Feel free to email us at yasnypodcast@gmail.com OR drop us some comments, feedback or ideas on the speakpipe (link below) Keep it fun and under a minute and you may get on the show. https://www.speakpipe.com/YASNY Recorded and Produced at Castaway Studios, CollingwoodSee omnystudio.com/listener for privacy information.

Aunty Donna's Zachary Ruane chats with Pete Helliar about his 3 favourite films; ; Mulholland Drive; Chef and Zoolander, then take a deep dive into watching the classic Aussie Boer war movie Breaker Morant.Feel free to email us at yasnypodcast@gmail.com OR drop us some comments, feedback or ideas on the speakpipe (link below)Keep it fun and under a minute and you may get on the show.https://www.speakpipe.com/YASNYRecorded and Produced at Castaway Studios, CollingwoodSee omnystudio.com/listener for privacy information.

On this episode, we travel back to 1984, and the days when a "young adult" novel included lots of drugs and partying and absolutely no sparkly vampires or dystopian warrior girls. We're talking about Jay McInerney's groundbreaking novel, Bright Lights, Big City, and its 1988 film version starring Michael J. Fox and Keifer Sutherland. ----more---- Hello, and welcome to The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today. The original 1984 front cover for Jay McInerney's Bright Lights, Big City If you were a young adult in the late 1980s, there's a very good chance that you started reading more adult-y books thanks to an imprint called Vintage Contemporaries. Quality books at an affordable paperback price point, with their uniform and intrinsically 80s designed covers, bold cover and spine fonts, and mix of first-time writers and cult authors who never quite broke through to the mainstream, the Vintage Contemporary series would be an immediate hit when it was first launched in September 1984. The first set of releases would include such novels as Raymond Carver's Cathedral and Thomas McGuane's The Bushwhacked Piano, but the one that would set the bar for the entire series was the first novel by a twenty-nine year old former fact checker at the New Yorker magazine. The writer was Jay McInerney, and his novel was Bright Lights, Big City. The original 1984 front cover for Raymond Carver's Cathedral Bright Lights, Big City would set a template for twenty something writers in the 1980s. A protagonist not unlike the writer themselves, with a not-so-secret drug addiction, and often written in the second person, You, which was not a usual literary choice at the time. The nameless protagonist, You, is a divorced twenty-four year old wannabe writer who works as fact-checker at a major upscale magazine in New York City, for which he once dreamed of writing for. You is recently divorced from Amanda, an aspiring model he had met while going to school in Kansas City. You would move to New York City earlier in the year with her when her modeling career was starting to talk off. While in Paris for Fashion Week, Amanda called You to inform him their marriage was over, and that she was leaving him for another man. You continues to hope Amanda will return to him, and when it's clear she won't, he not only becomes obsessed with everything about her that left in their apartment, he begins to slide into reckless abandon at the clubs they used to frequent, and becoming heavily addicted to cocaine, which then affects his performance at work. A chance encounter with Amanda at an event in the city leads You to a public humiliation, which makes him starts to realize that his behavior is not because his wife left him, but a manifestation of the grief he still feels over his mother's passing the previous year. You had gotten married to a woman he hardly knew because he wanted to make his mother happy before she died, and he was still unconsciously grieving when his wife's leaving him triggered his downward spiral. Bright Lights, Big City was an immediate hit, one of the few paperback-only books to ever hit the New York Times best-seller chart. Within two years, the novel had sold more than 300,000 copies, and spawned a tidal wave of like-minded twentysomething writers becoming published. Bret Easton Ellis might have been able to get his first novel Less Than Zero published somewhere down the line, but it was McInerney's success that would cause Simon and Schuster to try and duplicate Vintage's success, which they would. Same with Tana Janowitz, whose 1986 novel Slaves of New York was picked up by Crown Publishers looking to replicate the success of McInerney and Ellis, despite her previous novel, 1981's American Dad, being completely ignored by the book buying public at that time. While the book took moments from his life, it wasn't necessarily autobiographical. For example, McInerney had been married to a fashion model in the early 1980s, but they would meet while he attended Syracuse University in the late 1970s. And yes, McInerney would do a lot of blow during his divorce from his wife, and yes, he would get fired from The New Yorker because of the effects of his drug addiction. Yes, he was partying pretty hard during the times that preceded the writing of his first novel. And yes, he would meet a young woman who would kinda rescue him and get him on the right path.  But there were a number of details about McInerney's life that were not used for the book. Like how the author studied writing with none other than Raymond Carver while studying creative writing at Syracuse, or how his family connections would allow him to submit blind stories to someone like George Plimpton at the Paris Review, and not only get the story read but published. And, naturally, any literary success was going to become a movie at some point. For Bright Lights, it would happen almost as soon as the novel was published. Robert Lawrence, a vice president at Columbia Pictures in his early thirties, had read the book nearly cover to cover in a single sitting, and envisioned a film that could be “The Graduate” of his generation, with maybe a bit of “Lost Weekend” thrown in. But the older executives at the studio balked at the idea, which they felt would be subversive and unconventional. They would, however, buy in when Lawrence was able to get mega-producer Jerry Weintraub to be a producer on the film, who in turn was able to get Joel Schumacher, who had just finished filming St. Elmo's Fire for the studio, to direct, and get Tom Cruise, who was still two years away from Top Gun and megastardom, to play the main character. McInerney was hired to write the script, and he and Schumacher and Cruise would even go on club crawls in New York City to help inform all of the atmosphere they were trying to capture with the film. In 1985, Weintraub would be hired by United Artists to become their new chief executive, and Bright Lights would be one of the properties he would be allowed to take with him to his new home. But since he was now an executive, Weintraub would need to hire a new producer to take the reigns on the picture. Enter Sydney Pollack. By 1985, Sydney Pollack was one of the biggest directors in Hollywood. With films like They Shoot Horses, Don't They?, Jeremiah Johnson, Three Days of the Condor, The Electric Horseman and Tootsie under his belt, Pollock could get a film made, and get it seen by audiences. At least, as a director. At this point in his career, he had only ever produced one movie, Alan Rudolph's 1984 musical drama Songwriter, which despite being based on the life of Willie Nelson, and starring Nelson, Kris Kristofferson and Rip Torn, barely grossed a tenth of its $8m budget. And Pollock at that moment was busy putting the finishing touches on his newest film, an African-based drama featuring Meryl Streep and longtime Pollock collaborator Robert Redford. That film, Out of Africa, would win seven Academy Awards including Best Picture and Best Director, in March 1986, which would keep Pollock and his producing partner Mark Rosenberg's attention away from Bright Lights for several months. Once the hype on Out of Africa died down, Pollock and Rosenberg got to work getting Bright Lights, Big City made. Starting with hiring a new screenwriter, a new director, and a new leading actor. McInerney, Schumacher and Cruise had gotten tired of waiting. Ironically, Cruise would call on Pollock to direct another movie he was waiting to make, also based at United Artists, that he was going to star in alongside Dustin Hoffman. That movie, of course, is Rain Man, and we'll dive into that movie another time. Also ironically, Weintraub would not last long as the CEO of United Artists. Just five months after becoming the head of the studio, Weintraub would tire of the antics of Kirk Kerkorian, the owner of United Artists and its sister company, MGM, and step down. Kerkorian would not let Weintraub take any of the properties he brought from Columbia to his new home, the eponymously named mini-major he'd form with backing from Columbia. With a new studio head in place, Pollock started to look for a new director. He would discover that director in Joyce Chopra, who, after twenty years of making documentaries, made her first dramatic narrative in 1985. Smooth Talk was an incredible coming of age drama, based on a story by Joyce Carol Oates, that would make a star out of then seventeen-year-old Laura Dern. UA would not only hire her to direct the film but hire her husband, Tom Cole, who brilliantly adapted the Oates story that was the basis for Smooth Talk, to co-write the screenplay with his wife. While Cole was working on the script, Chopra would have her agent send a copy of McInerney's book to Michael J. Fox. This wasn't just some random decision. Chopra knew she needed a star for this movie, and Fox's agent just happened to be Chopra's agent. That'd be two commissions for the agent if it came together, and a copy of the book was delivered to Fox's dressing room on the Family Ties soundstage that very day. Fox loved the book, and agreed to do the film. After Alex P. Keaton and Marty McFly and other characters he had played that highlighted his good looks and pleasant demeanor, he was ready to play a darker, more morally ambiguous character. Since the production was scheduled around Fox's summer hiatus from the hit TV show, he was in. For Pollock and United Artists, this was a major coup, landing one of the biggest stars in Hollywood. But the project was originally going to be Toronto standing in for New York City for less than $7m with a lesser known cast. Now, it was going to be a $15m with not only Michael J. Fox but also Keifer Sutherland, who was cast as Tad, the best friend of the formerly named You, who would now known as Jamie Conway, and would be shot on location in New York City. The film would also feature Phoebe Cates as Jamie's model ex-wife, William Hickey, Kelly Lynch. But there was a major catch. The production would only have ten weeks to shoot with Fox, as he was due back in Los Angeles to begin production on the sixth season of Family Ties.  He wasn't going to do that thing he did making a movie and a television show at the same time like he did with Back to the Future and Family Ties in 1984 and 1985. Ten weeks and not a day more. Production on the film would begin on April 13th, 1987, to get as much of the film shot while Fox was still finishing Family Ties in Los Angeles. He would be joining the production at the end of the month. But Fox never get the chance to shoot with Chopra. After three weeks of production, Chopra, her husband, and her cinematographer James Glennon, who had also shot Smooth Talk, were dismissed from the film. The suits at United Artists were not happy with the Fox-less footage that was coming out of New York, and were not happy with the direction of the film. Cole and Chopra had removed much of the nightlife and drug life storyline, and focused more on the development of Jamie as a writer. Apparently, no one at the studio had read the final draft of the script before shooting began. Cole, the screenwriter, says it was Pollock, the producer, who requested the changes, but in the end, it would be not the Oscar-winning filmmaker producing the movie that would be released but the trio of newer creatives. Second unit footage would continue to shoot around New York City while the studio looked for a new director. Ironically, days after Chopra was fired, the Directors Guild of America had announced that if they were not able to sign a new agreement with the Producers Guild before the end of the current contract on June 30th, the directors were going on strike. So now United Artists were really under the gun. After considering such filmmakers as Belgian director Ulu Grosbard, who had directed Meryl Streep and Robert De Niro in Falling in Love, and Australian director Bruce Beresford, whose films had included Breaker Morant and Tender Mercies, they would find their new director in James Bridges, whose filmography included such critical and financial success as The Paper Chase, The China Syndrome and Urban Cowboy, but had two bombs in a row in 1984's Mike's Murder and 1985's Perfect. He needed a hit, and this was the first solid directing offer in three years. He'd spend the weekend after his hiring doing some minor recasting, including bringing in John Houseman, who won a Best Supporting Actor Oscar for his role in The Paper Chase, as well as Swoosie Kurtz, Oscar-winning actors Jason Robards and Dianne Weist, and Tracy Pollan, Fox's co-star on Family Ties, who would shortly after the filming of Bright Lights become Mrs. Michael J. Fox, although in the film, she would be cast not as a love interest to her real-life boyfriend's character but as the wife of Keifer Sutherland's character. After a week of rewriting McInerney's original draft of the screenplay from the Schumacher days, principal photography re-commenced on the film. And since Bridges would be working with famed cinematographer Gordon Willis, who had shot three previous movies with Bridges as well as the first two Godfather movies and every Woody Allen movie from Annie Hall to The Purple Rose of Cairo, it was also decided that none of Chopra's footage would be used. Everything would start back on square one. And because of the impending Directors Guild strike, he'd have only thirty-six days, a tad over five weeks, to film everything. One of the lobby cards from the movie version of Bright Lights, Big City And they were able to get it all done, thanks to some ingenious measures. One location, the Palladium concert hall on the Lower East Side of Manhattan, would double as three different nightclubs, two discotheques and a dinner club. Instead of finding six different locations, which would loading cameras and lights from one location to another, moving hundreds of people as well, and then setting the lights and props again, over and over, all they would have to do is re-decorate the area to become the next thing they needed. Bridges would complete the film that day before the Directors Guild strike deadline, but the strike would never happen. But there would be some issue with the final writing credits. While Bridges had used McInerney's original screenplay as a jumping off point, the writer/director had really latched on to the mother's death as the emotional center of the movie. Bridges' own grandmother had passed away in 1986, and he found writing those scenes to be cathartic for his own unresolved issues. But despite the changes Bridges would make to the script, including adding such filmmaking tropes as flashbacks and voiceovers, and having the movie broken up into sections by the use of chapter titles being typed out on screen, the Writers Guild would give sole screenwriting credit to Jay McInerney. As post-production continued throughout the fall, the one topic no one involved in the production wanted to talk about or even acknowledge was the movie version of Bret Easton Ellis's Less Than Zero that rival studio 20th Century Fox had been making in Los Angeles. It had a smaller budget, a lesser known filmmaker, a lesser known cast lead by Andrew McCarthy and Jami Gertz, and a budget half the size. If their film was a hit, that could be good for this one. And if their film wasn't a hit? Well, Bright Lights was the trendsetter. It was the one that sold more copies. The one that saw its author featured in more magazines and television news shows. How well did Less Than Zero do when it was released into theatres on November 6th, 1987? Well, you're just going to have to wait until next week's episode. Unless you're listening months or years after they were published, and are listening to episodes in reverse order. Then you already know how it did, but let's just say it wasn't a hit but it wasn't really a dud either. Bridges would spend nearly six months putting his film together, most of which he would find enjoyable, but he would have trouble deciding which of two endings he shot would be used. His preferred ending saw Jamie wandering through the streets of New York City early one morning, after a long night of partying that included a confrontation with his ex-wife, where he decides that was the day he was going to get his life back on track but not knowing what he was going to do, but the studio asked for an alternative ending, one that features Jamie one year in the future, putting the finishing touches on his first novel, which we see is titled… wait for it… Bright Lights, Big City, while his new girlfriend stands behind him giving her approval. After several audience test screenings, the studio would decide to let Bridges have his ending. United Artists would an April 1st, 1988 release date, and would spend months gearing up the publicity machine. Fox and Pollan were busy finishing the final episodes of that season's Family Ties, and weren't as widely available for the publicity circuit outside of those based in Los Angeles. The studio wasn't too worried, though. Michael J. Fox's last movie, The Secret of My Success, had been released in April 1987, and had grossed $67m without his doing a lot of publicity for that one, either. Opening on 1196 screens, the film would only manage to gross $5.13m, putting it in third place behind the previous week's #1 film, Biloxi Blues with Matthew Broderick, and the Tim Burton comedy Beetlejuice, which despite opening on nearly 200 fewer screens would gross nearly $3m more. But the reviews were not great. Decent. Respectful. But not great. The New York-based critics, like David Ansen of Newsweek and Janet Maslin of the Times, would be kinder than most other critics, maybe because they didn't want to be seen knocking a film shot in their backyard. But one person would actually would praise the film and Michael J. Fox as an actor was Roger Ebert. But it wouldn't save the film. In its second week, the film would fall to fifth place, with $3.09m worth of tickets sold, and it would drop all the way to tenth place in its third week with just under $1.9m in ticket sales. Week four would see it fall to 16th place with only $862k worth of ticket sales. After that, United Artists would stop reporting grosses. The $17m film had grossed just $16.1m. Bright Lights, Big City was a milestone book for me, in large part because it made me a reader. Before Bright Lights, I read occasionally, mainly John Irving, preferring to spend most of my free time voraciously consuming every movie I could. After Bright Lights, I picked up every Vintage Contemporary book I could get my hands on. One of the checklists of Vintage Contemporary books listed in the back of a Vintage Contemporary book. And one thing that really helped out was the literal checklist of other books available from that imprint in the back of each book. Without those distinct covers, I don't know if I would have discovered some of my favorite authors like Raymond Carver and Don DeLillo and Richard Ford and Richard Russo. Even after the Vintage Contemporary line shut down years later, I continued to read. I still read today, although not as much as I would prefer. I have a podcast to work on. I remember when the movie came out that I wasn't all that thrilled with it, and it would be nearly 35 years before I revisited it again, for this episode. I can't say it's the 80s as I remember it, because I had never been to New York City by that point in my life, I had never, and still never have, done anything like cocaine. And I had only ever had like two relationships that could be considered anything of substance, let alone marriage and a divorce. But I am certain it's an 80s that I'm glad I didn't know. Mainly because Jamie's 80s seemed rather boring and inconsequential. Fox does the best he can with the material, but he is not the right person for the role. As I watched it again, I couldn't help but wonder what if the roles were reversed. What if Keifer Sutherland played Jamie and Michael J. Fox played the friend? That might have been a more interesting movie, but Sutherland was not yet at that level of stardom. Thank you for joining us. We'll talk again next week, when Episode 95, on the novel and movie version of Less Than Zero is released. Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about Bright Lights, Big City, both the book and the movie, as well as other titles in the Vintage Contemporary book series. The full cover, back and front, of Richard Ford's 1986 The Sportswriter, which would be the first of four novels about Frank Bascombe, a failed novelist who becomes a sportswriter. The second book in the series, 1995's Independence Day, would win the Pulitzer Prize for Fiction, as well as the PEN/Faulkner Award for Fiction, the first of only two times the same book would win both awards the same year. The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment. Thank you again. Good night.  

On this episode, we travel back to 1984, and the days when a "young adult" novel included lots of drugs and partying and absolutely no sparkly vampires or dystopian warrior girls. We're talking about Jay McInerney's groundbreaking novel, Bright Lights, Big City, and its 1988 film version starring Michael J. Fox and Keifer Sutherland. ----more---- Hello, and welcome to The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today. The original 1984 front cover for Jay McInerney's Bright Lights, Big City If you were a young adult in the late 1980s, there's a very good chance that you started reading more adult-y books thanks to an imprint called Vintage Contemporaries. Quality books at an affordable paperback price point, with their uniform and intrinsically 80s designed covers, bold cover and spine fonts, and mix of first-time writers and cult authors who never quite broke through to the mainstream, the Vintage Contemporary series would be an immediate hit when it was first launched in September 1984. The first set of releases would include such novels as Raymond Carver's Cathedral and Thomas McGuane's The Bushwhacked Piano, but the one that would set the bar for the entire series was the first novel by a twenty-nine year old former fact checker at the New Yorker magazine. The writer was Jay McInerney, and his novel was Bright Lights, Big City. The original 1984 front cover for Raymond Carver's Cathedral Bright Lights, Big City would set a template for twenty something writers in the 1980s. A protagonist not unlike the writer themselves, with a not-so-secret drug addiction, and often written in the second person, You, which was not a usual literary choice at the time. The nameless protagonist, You, is a divorced twenty-four year old wannabe writer who works as fact-checker at a major upscale magazine in New York City, for which he once dreamed of writing for. You is recently divorced from Amanda, an aspiring model he had met while going to school in Kansas City. You would move to New York City earlier in the year with her when her modeling career was starting to talk off. While in Paris for Fashion Week, Amanda called You to inform him their marriage was over, and that she was leaving him for another man. You continues to hope Amanda will return to him, and when it's clear she won't, he not only becomes obsessed with everything about her that left in their apartment, he begins to slide into reckless abandon at the clubs they used to frequent, and becoming heavily addicted to cocaine, which then affects his performance at work. A chance encounter with Amanda at an event in the city leads You to a public humiliation, which makes him starts to realize that his behavior is not because his wife left him, but a manifestation of the grief he still feels over his mother's passing the previous year. You had gotten married to a woman he hardly knew because he wanted to make his mother happy before she died, and he was still unconsciously grieving when his wife's leaving him triggered his downward spiral. Bright Lights, Big City was an immediate hit, one of the few paperback-only books to ever hit the New York Times best-seller chart. Within two years, the novel had sold more than 300,000 copies, and spawned a tidal wave of like-minded twentysomething writers becoming published. Bret Easton Ellis might have been able to get his first novel Less Than Zero published somewhere down the line, but it was McInerney's success that would cause Simon and Schuster to try and duplicate Vintage's success, which they would. Same with Tana Janowitz, whose 1986 novel Slaves of New York was picked up by Crown Publishers looking to replicate the success of McInerney and Ellis, despite her previous novel, 1981's American Dad, being completely ignored by the book buying public at that time. While the book took moments from his life, it wasn't necessarily autobiographical. For example, McInerney had been married to a fashion model in the early 1980s, but they would meet while he attended Syracuse University in the late 1970s. And yes, McInerney would do a lot of blow during his divorce from his wife, and yes, he would get fired from The New Yorker because of the effects of his drug addiction. Yes, he was partying pretty hard during the times that preceded the writing of his first novel. And yes, he would meet a young woman who would kinda rescue him and get him on the right path.  But there were a number of details about McInerney's life that were not used for the book. Like how the author studied writing with none other than Raymond Carver while studying creative writing at Syracuse, or how his family connections would allow him to submit blind stories to someone like George Plimpton at the Paris Review, and not only get the story read but published. And, naturally, any literary success was going to become a movie at some point. For Bright Lights, it would happen almost as soon as the novel was published. Robert Lawrence, a vice president at Columbia Pictures in his early thirties, had read the book nearly cover to cover in a single sitting, and envisioned a film that could be “The Graduate” of his generation, with maybe a bit of “Lost Weekend” thrown in. But the older executives at the studio balked at the idea, which they felt would be subversive and unconventional. They would, however, buy in when Lawrence was able to get mega-producer Jerry Weintraub to be a producer on the film, who in turn was able to get Joel Schumacher, who had just finished filming St. Elmo's Fire for the studio, to direct, and get Tom Cruise, who was still two years away from Top Gun and megastardom, to play the main character. McInerney was hired to write the script, and he and Schumacher and Cruise would even go on club crawls in New York City to help inform all of the atmosphere they were trying to capture with the film. In 1985, Weintraub would be hired by United Artists to become their new chief executive, and Bright Lights would be one of the properties he would be allowed to take with him to his new home. But since he was now an executive, Weintraub would need to hire a new producer to take the reigns on the picture. Enter Sydney Pollack. By 1985, Sydney Pollack was one of the biggest directors in Hollywood. With films like They Shoot Horses, Don't They?, Jeremiah Johnson, Three Days of the Condor, The Electric Horseman and Tootsie under his belt, Pollock could get a film made, and get it seen by audiences. At least, as a director. At this point in his career, he had only ever produced one movie, Alan Rudolph's 1984 musical drama Songwriter, which despite being based on the life of Willie Nelson, and starring Nelson, Kris Kristofferson and Rip Torn, barely grossed a tenth of its $8m budget. And Pollock at that moment was busy putting the finishing touches on his newest film, an African-based drama featuring Meryl Streep and longtime Pollock collaborator Robert Redford. That film, Out of Africa, would win seven Academy Awards including Best Picture and Best Director, in March 1986, which would keep Pollock and his producing partner Mark Rosenberg's attention away from Bright Lights for several months. Once the hype on Out of Africa died down, Pollock and Rosenberg got to work getting Bright Lights, Big City made. Starting with hiring a new screenwriter, a new director, and a new leading actor. McInerney, Schumacher and Cruise had gotten tired of waiting. Ironically, Cruise would call on Pollock to direct another movie he was waiting to make, also based at United Artists, that he was going to star in alongside Dustin Hoffman. That movie, of course, is Rain Man, and we'll dive into that movie another time. Also ironically, Weintraub would not last long as the CEO of United Artists. Just five months after becoming the head of the studio, Weintraub would tire of the antics of Kirk Kerkorian, the owner of United Artists and its sister company, MGM, and step down. Kerkorian would not let Weintraub take any of the properties he brought from Columbia to his new home, the eponymously named mini-major he'd form with backing from Columbia. With a new studio head in place, Pollock started to look for a new director. He would discover that director in Joyce Chopra, who, after twenty years of making documentaries, made her first dramatic narrative in 1985. Smooth Talk was an incredible coming of age drama, based on a story by Joyce Carol Oates, that would make a star out of then seventeen-year-old Laura Dern. UA would not only hire her to direct the film but hire her husband, Tom Cole, who brilliantly adapted the Oates story that was the basis for Smooth Talk, to co-write the screenplay with his wife. While Cole was working on the script, Chopra would have her agent send a copy of McInerney's book to Michael J. Fox. This wasn't just some random decision. Chopra knew she needed a star for this movie, and Fox's agent just happened to be Chopra's agent. That'd be two commissions for the agent if it came together, and a copy of the book was delivered to Fox's dressing room on the Family Ties soundstage that very day. Fox loved the book, and agreed to do the film. After Alex P. Keaton and Marty McFly and other characters he had played that highlighted his good looks and pleasant demeanor, he was ready to play a darker, more morally ambiguous character. Since the production was scheduled around Fox's summer hiatus from the hit TV show, he was in. For Pollock and United Artists, this was a major coup, landing one of the biggest stars in Hollywood. But the project was originally going to be Toronto standing in for New York City for less than $7m with a lesser known cast. Now, it was going to be a $15m with not only Michael J. Fox but also Keifer Sutherland, who was cast as Tad, the best friend of the formerly named You, who would now known as Jamie Conway, and would be shot on location in New York City. The film would also feature Phoebe Cates as Jamie's model ex-wife, William Hickey, Kelly Lynch. But there was a major catch. The production would only have ten weeks to shoot with Fox, as he was due back in Los Angeles to begin production on the sixth season of Family Ties.  He wasn't going to do that thing he did making a movie and a television show at the same time like he did with Back to the Future and Family Ties in 1984 and 1985. Ten weeks and not a day more. Production on the film would begin on April 13th, 1987, to get as much of the film shot while Fox was still finishing Family Ties in Los Angeles. He would be joining the production at the end of the month. But Fox never get the chance to shoot with Chopra. After three weeks of production, Chopra, her husband, and her cinematographer James Glennon, who had also shot Smooth Talk, were dismissed from the film. The suits at United Artists were not happy with the Fox-less footage that was coming out of New York, and were not happy with the direction of the film. Cole and Chopra had removed much of the nightlife and drug life storyline, and focused more on the development of Jamie as a writer. Apparently, no one at the studio had read the final draft of the script before shooting began. Cole, the screenwriter, says it was Pollock, the producer, who requested the changes, but in the end, it would be not the Oscar-winning filmmaker producing the movie that would be released but the trio of newer creatives. Second unit footage would continue to shoot around New York City while the studio looked for a new director. Ironically, days after Chopra was fired, the Directors Guild of America had announced that if they were not able to sign a new agreement with the Producers Guild before the end of the current contract on June 30th, the directors were going on strike. So now United Artists were really under the gun. After considering such filmmakers as Belgian director Ulu Grosbard, who had directed Meryl Streep and Robert De Niro in Falling in Love, and Australian director Bruce Beresford, whose films had included Breaker Morant and Tender Mercies, they would find their new director in James Bridges, whose filmography included such critical and financial success as The Paper Chase, The China Syndrome and Urban Cowboy, but had two bombs in a row in 1984's Mike's Murder and 1985's Perfect. He needed a hit, and this was the first solid directing offer in three years. He'd spend the weekend after his hiring doing some minor recasting, including bringing in John Houseman, who won a Best Supporting Actor Oscar for his role in The Paper Chase, as well as Swoosie Kurtz, Oscar-winning actors Jason Robards and Dianne Weist, and Tracy Pollan, Fox's co-star on Family Ties, who would shortly after the filming of Bright Lights become Mrs. Michael J. Fox, although in the film, she would be cast not as a love interest to her real-life boyfriend's character but as the wife of Keifer Sutherland's character. After a week of rewriting McInerney's original draft of the screenplay from the Schumacher days, principal photography re-commenced on the film. And since Bridges would be working with famed cinematographer Gordon Willis, who had shot three previous movies with Bridges as well as the first two Godfather movies and every Woody Allen movie from Annie Hall to The Purple Rose of Cairo, it was also decided that none of Chopra's footage would be used. Everything would start back on square one. And because of the impending Directors Guild strike, he'd have only thirty-six days, a tad over five weeks, to film everything. One of the lobby cards from the movie version of Bright Lights, Big City And they were able to get it all done, thanks to some ingenious measures. One location, the Palladium concert hall on the Lower East Side of Manhattan, would double as three different nightclubs, two discotheques and a dinner club. Instead of finding six different locations, which would loading cameras and lights from one location to another, moving hundreds of people as well, and then setting the lights and props again, over and over, all they would have to do is re-decorate the area to become the next thing they needed. Bridges would complete the film that day before the Directors Guild strike deadline, but the strike would never happen. But there would be some issue with the final writing credits. While Bridges had used McInerney's original screenplay as a jumping off point, the writer/director had really latched on to the mother's death as the emotional center of the movie. Bridges' own grandmother had passed away in 1986, and he found writing those scenes to be cathartic for his own unresolved issues. But despite the changes Bridges would make to the script, including adding such filmmaking tropes as flashbacks and voiceovers, and having the movie broken up into sections by the use of chapter titles being typed out on screen, the Writers Guild would give sole screenwriting credit to Jay McInerney. As post-production continued throughout the fall, the one topic no one involved in the production wanted to talk about or even acknowledge was the movie version of Bret Easton Ellis's Less Than Zero that rival studio 20th Century Fox had been making in Los Angeles. It had a smaller budget, a lesser known filmmaker, a lesser known cast lead by Andrew McCarthy and Jami Gertz, and a budget half the size. If their film was a hit, that could be good for this one. And if their film wasn't a hit? Well, Bright Lights was the trendsetter. It was the one that sold more copies. The one that saw its author featured in more magazines and television news shows. How well did Less Than Zero do when it was released into theatres on November 6th, 1987? Well, you're just going to have to wait until next week's episode. Unless you're listening months or years after they were published, and are listening to episodes in reverse order. Then you already know how it did, but let's just say it wasn't a hit but it wasn't really a dud either. Bridges would spend nearly six months putting his film together, most of which he would find enjoyable, but he would have trouble deciding which of two endings he shot would be used. His preferred ending saw Jamie wandering through the streets of New York City early one morning, after a long night of partying that included a confrontation with his ex-wife, where he decides that was the day he was going to get his life back on track but not knowing what he was going to do, but the studio asked for an alternative ending, one that features Jamie one year in the future, putting the finishing touches on his first novel, which we see is titled… wait for it… Bright Lights, Big City, while his new girlfriend stands behind him giving her approval. After several audience test screenings, the studio would decide to let Bridges have his ending. United Artists would an April 1st, 1988 release date, and would spend months gearing up the publicity machine. Fox and Pollan were busy finishing the final episodes of that season's Family Ties, and weren't as widely available for the publicity circuit outside of those based in Los Angeles. The studio wasn't too worried, though. Michael J. Fox's last movie, The Secret of My Success, had been released in April 1987, and had grossed $67m without his doing a lot of publicity for that one, either. Opening on 1196 screens, the film would only manage to gross $5.13m, putting it in third place behind the previous week's #1 film, Biloxi Blues with Matthew Broderick, and the Tim Burton comedy Beetlejuice, which despite opening on nearly 200 fewer screens would gross nearly $3m more. But the reviews were not great. Decent. Respectful. But not great. The New York-based critics, like David Ansen of Newsweek and Janet Maslin of the Times, would be kinder than most other critics, maybe because they didn't want to be seen knocking a film shot in their backyard. But one person would actually would praise the film and Michael J. Fox as an actor was Roger Ebert. But it wouldn't save the film. In its second week, the film would fall to fifth place, with $3.09m worth of tickets sold, and it would drop all the way to tenth place in its third week with just under $1.9m in ticket sales. Week four would see it fall to 16th place with only $862k worth of ticket sales. After that, United Artists would stop reporting grosses. The $17m film had grossed just $16.1m. Bright Lights, Big City was a milestone book for me, in large part because it made me a reader. Before Bright Lights, I read occasionally, mainly John Irving, preferring to spend most of my free time voraciously consuming every movie I could. After Bright Lights, I picked up every Vintage Contemporary book I could get my hands on. One of the checklists of Vintage Contemporary books listed in the back of a Vintage Contemporary book. And one thing that really helped out was the literal checklist of other books available from that imprint in the back of each book. Without those distinct covers, I don't know if I would have discovered some of my favorite authors like Raymond Carver and Don DeLillo and Richard Ford and Richard Russo. Even after the Vintage Contemporary line shut down years later, I continued to read. I still read today, although not as much as I would prefer. I have a podcast to work on. I remember when the movie came out that I wasn't all that thrilled with it, and it would be nearly 35 years before I revisited it again, for this episode. I can't say it's the 80s as I remember it, because I had never been to New York City by that point in my life, I had never, and still never have, done anything like cocaine. And I had only ever had like two relationships that could be considered anything of substance, let alone marriage and a divorce. But I am certain it's an 80s that I'm glad I didn't know. Mainly because Jamie's 80s seemed rather boring and inconsequential. Fox does the best he can with the material, but he is not the right person for the role. As I watched it again, I couldn't help but wonder what if the roles were reversed. What if Keifer Sutherland played Jamie and Michael J. Fox played the friend? That might have been a more interesting movie, but Sutherland was not yet at that level of stardom. Thank you for joining us. We'll talk again next week, when Episode 95, on the novel and movie version of Less Than Zero is released. Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about Bright Lights, Big City, both the book and the movie, as well as other titles in the Vintage Contemporary book series. The full cover, back and front, of Richard Ford's 1986 The Sportswriter, which would be the first of four novels about Frank Bascombe, a failed novelist who becomes a sportswriter. The second book in the series, 1995's Independence Day, would win the Pulitzer Prize for Fiction, as well as the PEN/Faulkner Award for Fiction, the first of only two times the same book would win both awards the same year. The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment. Thank you again. Good night.  

Émission fraternité, trahisons et fidélité. Parfois les soirs de drame, il nous faut trouver la flamme qu'il faut, pour toucher les femmes qui nous tendent les mains. Nous ne sommes pas des héros, nos faux pas nous collent à la peau.dispo également sur le tubeAu programme cette semaine:* Breaker Morant, aka Héros ou salopards, de Bruce Beresford réédité chez Rimini Editions.* Leila et ses frères, nouvelle bombe de Saeed Roustaee.Coups de cœur:THOMAS: Les Raisins de la colère (Steinbeck) + revoir Les fantômes du chapelier (Chabrol)THIBAUT: Police (Pialalt) + The Kills (leur vie, leur oeuvre)DOC: revoir Coup de tête (Annaud)PLAYLISTPrégénérique / Extrait Breaker MorantJohn Edmond / The Spirit of Breaker MorantAngry Silence / The Best Place in the Sun 

It was quite an emotional day when I interviewed this week’s guest, the former rugby international turned best-selling author, Peter FitzSimons. Because it was the day after my father died. I’ve written about my Dad, Desmond Zwar, a lot on social media. He was the author of 20 non fiction books, including The Loneliest Man In the World about Rudolf Hess, In Search of Sir Keith Murdoch, This Wonderful World of Golf, where he went on the golf tour with Peter Thomson, and the runaway best seller, Golf: The Dictionary with illustrations by the great Jeff Hook. Dad, an avid reader, was in a nursing home towards the end of his life, so I ran his Kindle account. Whenever he wanted to read another book, I would buy it and sync it into his Kindle. And the last book I bought Dad, and the last book he read, was Peter FitzSimon’s biography of Ned Kelly. So it was strangely appropriate that the day after Dad’s passing, I was interviewing Peter. I didn’t tell him the situation. I didn’t want to make him feel weird. But the coincidence was not lost on me.Some would know Peter from his seven rugby tests with the Wallabies as a lock forward from 1989 to 1990. Others would know him from his columns in the Sydney Morning Herald. But most would have read, or at least threatened to read, one of his 27 books – many of which have become best sellers. There have been the rugby books, which we’ll talk about later, joke books, a book on Nietzsche, historical biographies on Nancy Wake, Kim Beasley, Douglas Mawson, Kingsford Smith, Breaker Morant, and James Cook, and then there have been the books on big subjects like Gallipoli, Kokoda, the Batavia and the Eureka Stockade. And now he’s written The Opera House :The extraordinary story of the building that symbolises Australia. In this interview, we get into the guts of how Peter came to be a writer, the word he most overuses in his books, and how he gave up the grog and managed to fit even more into his day. PETER ON GIVING UP THE GROG This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit adamzwar.substack.com

This episode is a “Sidebar,” which is our term for an episode that is off the timeline of the History of the Americans. This episode centers on a concurring opinion delivered by Justice Neil Gorsuch in a case handed down by the United States Supreme Court only a few days ago, on April 21, 2022. The case, United States vs. Vaello Madero, addresses a pretty unexciting question to most of us -- whether the Constitution requires Congress to extend Supplemental Security Income benefits to residents of Puerto Rico to the same extent it makes those benefits available to the residents of the States. That is not the interesting part. Justice Gorsuch's concurring opinion is, however, very interesting, an eloquent re-telling of the history of a series of cases -- the "Insular Cases" -- handed down in the years following the Spanish-American war, the moment in which the United States started dabbling in the European habit of true empire building. The Insular Cases are both an analytical mess and remain on the books as bad law today, as Justice Gorsuch compellingly argues. Enjoy! Selected references for this episode United States v. Vaello Madero Daniel Immerwahr, How to Hide an Empire: A History of the Greater United States Insular Cases (Wikipedia) Plessy v. Ferguson (Wikipedia) "Breaker Morant," epitaph scene

This Saturday Night, April 23rd the stars of Dangerous Adrenaline Wrestling Gladiators will shine down in Glassboro, New Jersey at the Max Fit Sports Center to present Marking Our Territory. To preview the event, the Alliance Guys will speak to WWGP Champion Chris Steeler, DAWG Champion Ray Jaz, and DAWG Matchmaker Jim. Chris Steeler has spent the last 19 years perfecting his craft. He calls New Jersey home and has gone to war in wrestling promotions in the North East. The 6'1 World Wrestling Grand Prix Champion has a very tough opponent in Tyson Maddox. We will talk to Steeler about his journeys as champion and what he thinks of his opponent at Marking Our Territory. Jim Molineaux is an ECW Original. He refereed some great moments for ECW. In the last year, Molineaux has become the primary matchmaker for DAWG. We will discuss DAWG, what it looks for in new talent, and of course the big event on April 23rd. If you have been sleeping on Ray Jaz, it is time to wake up. Ray Jaz rapid growth through Dangerous Adrenaline Wrestling Gladiators is no accident. Most recently he defeated Richard Holliday, Dirty Money, and Rhett Titus. We will discuss with Jaz the transition from NCAA to Independent Wrestling. We'll ask about his start with DAWG, becoming World Champion, his Ray's Tips, and his opponent for April 23rd at Marking Your Territory, Breaker Morant. --- Support this podcast: https://anchor.fm/theallianceblog/support

The Wicker Man is a 1973 British folk horror film directed by Robin Hardy and starring Edward Woodward, Britt Ekland, Diane Cilento, Ingrid Pitt, and Big Chris Lee. In his 7th appearance on The General Witchfinders. The screenplay by Anthony (frenzy) Shaffer, inspired by David Pinner's 1967 novel Ritual, centres on the visit of Police Sergeant Neil Howie to the isolated island of Summerisle in search of a missing girl. Howie, a devout Christian, is appalled to find that the inhabitants of the island have abandoned Christianity and now practice a form of Celtic paganism.The movie is well-regarded by critics. Film magazine Cinefantastique described it as "The Citizen Kane of horror movies", and in 2004, Total Film magazine named The Wicker Man the sixth greatest British film of all time, and during the 2012 Summer Olympics opening ceremony the film was included as part of a sequence that celebrated British cinema.In 1989, Shaffer wrote a script treatment for The Loathsome Lambton Worm, a direct sequel with fantasy elements. Hardy had no interest in the project, and it was never produced. In 2006, an ill-received American remake was released, from which Hardy and others involved with the original have dissociated themselves. In 2011, a spiritual sequel directed by Hardy entitled The Wicker Tree, was released and featured Lee in a cameo appearance.Television actor Edward Woodward was cast in the role of Sergeant Neil Howie after the part was declined by both Michael York and David Hemmings. In Britain, Woodward was best known for the role of Callan, which he played from 1967 to 1972. After The Wicker Man, Woodward went on to receive international attention for his roles in the 1980 film Breaker Morant and the 1980s TV series The Equalizer.The film was produced at a time of crisis for the British film industry. The studio in charge of production, British Lion Films, was in financial trouble and was bought by wealthy businessman John Bentley. To convince the unions that he was not about to asset-strip the company, Bentley needed to get a film into production quickly. This meant that The Wicker Man, a film set during spring, actually began filming in October 1972: artificial leaves and blossoms had to be glued to trees in many scenes. The production was kept on a small budget. Christopher Lee was extremely keen to get the film made; he and others worked on the production without pay,(Something he seems very keen to mention at every opportunity). While filming took place, British Lion was bought by EMI Films.Iron Maiden released a single called The Wicker Man from their Brave New World album in tribute to the classic film.$£$£$£$£$£$£$£$£$£$£$£$£$£$£$£$£$£$£$ Just in case anyone has too much money and wants to give a bit to us to help with our hosting n stuff. It would be amazing if you fancied sending us some pennies - thank you.https://supporter.acast.com/general-witchfinders $£$£$£$£$£$£$£$£$£$£$£$£$£$£$£$£$£$£$£ Get bonus content on PatreonSupport this show http://supporter.acast.com/general-witchfinders. See acast.com/privacy for privacy and opt-out information.

This week, two heads of our regular three-headed podmonster are left thoroughly scratched after watching Bruce Beresfords cinematic account of a controversial Australian figure - 'Breaker Morant'. Uncertain about where the films true loyalties lie, Nick and Maciej summon a Kangaroo Court and cross examine the certified Australian Classic. next week: The Man from Hong Kong

Set in 1902 during the Second Boer War in South Africa, this film follows the court martial of three Australian soldiers serving in the British army. The post W050c: Breaker Morant (1980) [BONUS EPISODE] appeared first on .

The FMB come home with the iconic, oft quoted dramatization of an Australian tragedy - Evil Angels, pehaps more commonly known as A Cry In The Dark. Enjoy a litany of half-formed thoughts including but not limited to: The meaning of Dingo! Andy Griffith books! Jury etiquette! The Beethoven film series! and more! next week: Breaker Morant

WELCOME TO EPISODE 303 WHERE THE MCMR CREW TALK ABOUT BREAKER MORANT. 

This week on the show, tyrant of popular culture HG Nelson drops in to talk about his new book “The Fairytale: A Real And Imagined History Of Australian Sport” as well as a number of other topics such as the Brisbane Olympics, an Australian Republic and was Breaker Morant guilty or innocent? See omnystudio.com/listener for privacy information.

We discuss two films from the 1980s that were adapted from plays. Both are well worth seeing,

On today's episode, Steve and Sam discuss two of the best courtroom drama's ever: Breaker Morant and Judgement at Nuremberg. 

7-SEPTEMBER-1901. While serving with the Bushveldt Carbineers, a British Irregular Mounted Unit, during the Second Anglo-Boer War, Lt Harry  Harbord Morant, better known as "Breaker Morant" allegedly ordered the execution of eight Boer Prisoners of War, along with a number of Dutch civilians, and a German Missionary. For this act, Breaker Morant, is one of the first British Subjects, charged, tried and convicted of a War Crime. And while he claimed to be following orders, at what point does just doing your job constitute unlawful killings of non-combatants?  This week we go into his Trial, sentence, his place in Australian Military History and his portrayal in Popular Culture --- Send in a voice message: https://anchor.fm/iwasonlydoingmyjob/message

With special guest: Peter FitzSimons… in conversation with Bill Kable “Shoot straight you bastards! Don’t make a mess of it.” These are the last words of Breaker Morant as he sat on a chair looking at the firing squad about to kill him. These words are well known in Australia as one of the few relics from the first time troops from the Australian continent went into the battlefield in the Boer War. But after reading Peter FitzSimons’ new book titled Breaker Morant the inescapable conclusion is that there are a lot of unknowns in the story of the Breaker. Many of the things we thought we knew are actually fictions usually started by the Breaker himself. Podcast (mp3)

7-SEPTEMBER-1901. While serving with the Bushveldt Carbineers, a British Irregular Mounted Unit, during the Second Anglo-Boer War, Lt Harry Harbord Morant, better known as "Breaker Morant" allegedly ordered the execution of eight Boer Prisoners of War, along with a number of Dutch civilians, and a German Missionary. For this act, Breaker Morant, is one of the first British Subjects, charged, tried and convicted for War Crimes. And while he claimed to be following orders, at what point does just doing your job constitute unlawful killings of non-combatants? --- Send in a voice message: https://anchor.fm/iwasonlydoingmyjob/message

Brian, meet Bryan ... Brown that is, the legend of Australian cinema and television and now an author. Bryan chats about Sweet Jimmy - his debut book - and everything from Breaker Morant to Ringo, Paul and Tom Cruise. Mind blowing stuff. Also meet Nick from Tasmania's The Wolfe Brothers who have a red hot new album Kids on Cassette.  All thanks to Murcotts Driving Excellence 1300 555 576 murcotts.edu.au  They can make you a better driver.   See omnystudio.com/listener for privacy information.

This week we are joined by Anthony Zenhauser to present an episode of "Film F*gs" and review the 1980 Australian film "Breaker Morant" which takes place during the second Boer war. Follow Anthony on twitter and instagram @thezencomic Don't forget to join our Telegram channel at T.me/historyhomos and to join our group chat at T.me/historyhomoschat and check out Scott's PC gaming stream at Twitch.tv/historyhomos. The video version of the show is available on Youtube, bitchute, odysee and our telegram channel and all of those can be reached through the Link.tree in any of our social media bios. For weekly premium episodes or to contribute to the show subscribe to our channel at www.rokfin.com/historyhomos Any questions comments concerns or sticker requests can be leveled at historyhomos@gmail.com Later homos --- Support this podcast: https://anchor.fm/historyhomos/support

Tonight, on an uncharacteristically special episode of Kicking and Streaming… Beau and Chris take a deep dive into human psychology amid the moral murkiness of war, all seen through the lens of two historic trials. Real-world larger-than-life personalities collide as a fascinating bunch of characters go through aggravatingly skewed, politically-motivated trials, both of which have far more at stake than the crimes of which the lead characters are accused. Is it admirable or objectionable to defy authority? Can any crimes against humanity be excused with "I was only following orders"? Give this episode a listen and we'll all find out together!

Peter Cousens' name is synonymous with the musical theatre in Australia. His contributions are many - as a leading man, producer and passionate advocate of the form.He is a graduate of the National Institute of Dramatic Art and has carved a career as an actor, singer, producer, director, teacher and film director. He played the Phantom in The Phantom of the Opera on London's West End for eleven months in 1997/98. He has starred alongside Russel Crowe in Blood Brothers, the late Richard Harris in Camelot and has had an extensive career playing major roles in musicals throughout Australia, New Zealand and England.As an actor he has worked extensively with Australia's major performing arts companies including Sydney Theatre Company Macbeth, Measure for Measure, Nicholas Nickleby, Chicago, Chinchilla and Convict's Opera; Griffin The Falls; Philip Street Theatre Whose Life is it Anyway; The Queensland Theatre Company Camille, Breaker Morant, You Never Can Tell, The Sentimental Bloke; Marian Street, London Assurance & Fanny; Melbourne Theatre Company Company; Sydney Dance Company in Tivoli; Out of Joint (UK) The Convicts Opera; Darlinghurst Theatre The Paris Letter. On Television Cliffy, Phryne Fisher, Return to Eden, The Sullivans, Carson's Law, The Young Doctors, Son and Daughters, The Timeless Land and Under Capricorn.Peter tours extensively around Australia with his own one man show and works regularly in concert performing in Australia's major performing arts venues and with Symphony Orchestras.He is the Artistic Director of the Talent Development Project and conducts workshops and master classes with elite talent from Government Schools across NSW. Peter also conducts classes and workshops with the NSW Education Departments Arts Unit specifically around the development of performance skills for secondary students. He teaches in the Musical Theatre Diploma Course at NIDA and regularly directs theatre, conducts workshops and classes at Central Queensland University.He is a consummate artist who has invested his talent across many platforms, stages and roles. His experiences and garnered wisdom are vast. STAGES welcomes the opportunity to celebrate Peter Cousens.The STAGES podcast is available from Apple podcasts, Spotify, Whooshkaa and where you find your favourite podcasts. www.stagespodcast.com.au

Marvin Kate joins Jeremy for BREAKER MORANT and throws us into a nerd fest about war films…

Sam and Emma host Alex Pareene (@pareene), staff writer at The New Republic and co-host of the podcast The Politics of Everything, to wrap up this week's events before Matthew Film Guy (@langdonboom) drops by afterwards! Alex, Emma, and Sam explore the lingering effects of Donald Trump, starting with the developments on the Jan. 6 commission and touching on the failure of his Texas Senatorial endorsement, before they discuss how the lingering shadow of Trump will help boost Democratic engagement at the polls in 2022, while the lack of him actually running won't necessarily draw out his full base. They, then, move onto the delays in the Portman-Sinema infrastructure bill, highlighting Sinema's love for theatrics and a good photo-op, and how her role in bipartisanship, despite her performance, doesn't have the same security of being a Dem in a red state, like Manchin, or with deep political roots in their state, like Joe Lieberman. Next, they take suggestions from Robert Rector's piece admitted that just giving money to poor people helps solve poverty, and reflect on the success of the pandemic payments in doing the same. Sam and Emma wrap up the first half with the continued absurd performance of Republican outrage over pandemic protections, and Joe Biden's response to a question on vaccine mandates. And in the Fun Half: Matthew Film Guy joins once again to cover the most important topics in film today, from the impact of the pandemic on independent filmmaking (including the release of Black Bear, edited by him!) to drawing more youthful audiences to the theater. He also gives his top cinema recommendations, including, Breaker Morant, Lost Horizon, and Lee Chang-Dong's Poetry, with Emma, Matt, and Bradley (after Sam drops out) touching on their recent cinema takes and the role of the ever eccentric Nicholas Cage in pop culture. Sam rejoins partway through as Emma covers Alan Dershowitz reminding Laura Ingraham that the constitution, indeed, does not cover anything regarding vaccinations, and Meghan McCain's discussion on nepotism (definitely not from experience though). Sam and Emma round out the fun half with J**** D***'s continued targeted misogyny, and how his clamor for reactionary views has led him to become a person that should, in his own words, be disqualified from polite society. Plus, your IMs! Become a member at JoinTheMajorityReport.com Join the Majority Report Discord! http://majoritydiscord.com/ Get all your MR merch at our store https://shop.majorityreportradio.com/ (Merch issues and concerns can be addressed here: majorityreportstore@mirrorimage.com) You can now watch the livestream on Twitch Check out today's sponsor: Freshly sends fresh, fully prepared meals right to your door. Get $40 off your first two orders at Freshly.com/majority sunsetlakecbd is a majority employee owned farm in Vermont, producing 100% pesticide free CBD products. Great company, great product and fans of the show! Use code Leftisbest and get 20% off at http://www.sunsetlakecbd.com. And now Sunset Lake CBD has donated $2500 to the Nurses strike fund, and we encourage MR listeners to help if they can. Here's a link to where folks can donate: https://forms.massnurses.org/we-stand-with-st-vincents-nurses/ Support the St. Vincent Nurses today as they continue to strike for a fair contract! https://action.massnurses.org/we-stand-with-st-vincents-nurses/ Subscribe to Discourse Blog, a newsletter and website for progressive essays and related fun partly run by AM Quickie writer Jack Crosbie. https://discourseblog.com/ Subscribe to AM Quickie writer Corey Pein's podcast News from Nowhere, at https://www.patreon.com/newsfromnowhere Check out The Letterhack's upcoming Kickstarter project for his new graphic novel! https://www.kickstarter.com/projects/milagrocomic/milagro-heroe-de-las-calles Check out Matt Binder's YouTube channel! Check out The Nomiki Show live at 3 pm ET on YouTube at patreon.com/thenomikishow Check out Matt's podcast, Literary Hangover, at Patreon.com/LiteraryHangover, or on iTunes. Check out Jamie's podcast, The Antifada, at patreon.com/theantifada, on iTunes, or at twitch.tv/theantifada (streaming every Monday, Wednesday, Thursday and Friday at 7pm ET!) Follow the Majority Report crew on Twitter: @SamSeder @EmmaVigeland @MattBinder @MattLech @BF1nn @BradKAlsop To see Sam's beatdown of Jimmy Dore from 2016, watch here.

Guest: We speak to Australian author, Percy Fitzsimmons about his latest book, "Breaker Morant". It tells the story of Harry "Breaker" Morant, a lieutenant in the irregular Bushveldt Carbineers, who was convicted in 1902 by a British Army court martial for his role in the murders of civilians and surrendered combatants during the Second Anglo-Boer War.    See omnystudio.com/listener for privacy information.

A great movie featuring a trial following the Second Boer War. Are they heroes or villains in Breaker Morant (1980). The Coyote's Tale, a noir mystery by John Cornelison is available on Amazon in paperback and on Kindle Support the show with a purchase from Merch SPREAD THE WORD! If you enjoyed this episode head on over to iTunes and kindly leave us a rating, a review, and subscribe! Click here to subscribe via Apple Podcast Find us at: Libsyn Page; Ganna Amazon Music Spotify Radiodotcom We would love to get your feedback! Email jec@classicmovierev.com Read more at classicmovierev.com

A Serious Disc Agreement is the only "serious" podcast on the Australian Internet about "Movie Disc Culture."Alexei Toliopoulos (Finding Drago, Total Reboot) and Blake Howard (One Heat Minute) are expanding their IMPRINT COMPANION podcast to include the best physical media releases worldwide. For this episode, we're discussing Umbrella Entertainment's SUNBURNT SCREENS label so far, THE LAST WAVE, DINGO, SUNDAY TOO FAR AWAY, WE OF THE NEVER NEVER, and BREAKER MORANT. THE LAST WAVE (1977) "Dream is a shadow of something real." Chris Lee (David Gulpilil)Internationally acclaimed filmmaker Peter Weir (Oscar ® nominated director of Picnic at Hanging Rock, Gallipoli and Witness) explores a startling world on the brink of apocalypse in The Last Wave, a time and place where Mother Nature and human nature are destined to collide in catastrophic disaster. When lawyer David Burton (Richard Chamberlain, The Thorn Birds) is assigned a case to defend a group of indigenous Australian men, he is unprepared for the nightmares and dreamscapes ahead. Accused of murdering one of their own, the men stand trial amidst suspicious circumstances and, as Burton becomes plagued by unsettling visions, he is drawn to the mysterious Chris Lee (AFI Award winner David Gulpilil, Storm Boy, The Tracker) for answers to his torment. As the erratic climate turns dangerous, Burton senses a greater power at play, where tribal customs and the ancient ideas of Dreamtime may be more than just an ominous warning. Featuring atmospheric cinematography by Oscar ® winner Russell Boyd (Master and Commander: The Far Side of the World), The Last Wave is a haunting journey into the depths of the unknown, where dreams and nightmares conspire as one.Special Features: Interview featurettes with: Lead Actor Richard Chamberlain Producer Jim McElroy + Director of Photography Russell Boyd + David Stratton on The Last WaveTrailers From Hell: The Last Wave with Brian Trenchard-SmithEdit from the 1980 documentary David Gulpilil: Walkabout to HollywoodTheatrical Trailer - GalleryDINGO Late jazz great Miles Davis made his only acting appearance in this film about a jazz trumpeter who dares to realize his musical dreams in the Australian outback. Dingo stars Colin Friels as John "Dingo" Anderson, a part-time musician and dingo trapper living in the bush who, after seeing his hero, legendary trumpeter Billy Cross (Miles Davis) on tour, longs to travel to Paris and play with the finest American jazz musicians. Frustrated by playing half-rate music in dusty dancehalls, John's dream is compromised by his love for his new family. Dingo must now decide whether he to make the supreme sacrifice for his music. Featuring a stunning, award-winning Miles Davis soundtrack (one of Davis' last recordings before his death), Dingo is directors Rolf de Heer's (Bad Boy Bubby, The Tracker) cinematic ode to the power of music.Special Features: Interview featurettes with: Director Rolf de Heer and lead actress Helen Buday Rushes Reel: The Desert Runway with audio commentary by Rolf de Heer Theatrical Trailers: Dingo, The Tracker, Bad Boy BubbySUNDAY TOO FAR AWAYJack Thompson is Foley, the best shearer on every station for miles around. Sunday Too Far Away is Foley's story of sweat-soaked days and rum-soaked nights, of bloody two-fisted punch ups... of scab labour brought in during the shearers strike of '56 and of the poor old bastard who runs the place: the cocky (farmer) who is terrified that one slip of the shears will render his prize ram good for nothing but mint sauce.A classic of Australian cinema and the film that launched the South Australian Film Corporation, Sunday Too Far Away now appears as part of the Sunburnt Screens sub label.Special Features: • The Making of Sunday - archival TV documentary from 1975 • Jack Thompson AM in conversation with David Wenham, post-screening of Sunday Too Far Away, recorded at GOMA, 2019*Original World Premiere programme from 1975Stills GalleryTheatrical TrailerWE OF THE NEVER NEVERFrom one of Australia's most treasured novels comes an exquisitely beautiful Australian classic based on the true story of Jeannie Gunn - a woman who battled the odds as a station master's wife in outback Australia. For the love of her new husband (Arthur Dignam, The Devil's Playground), Jeannie (AFI Award Winner Angela Punch-McGregor, The Chant Of Jimmie Blacksmith) abandons a high society city life to trek into the vast and wild heart of Australia - where wives are seldom seen, and even less accepted. Enduring isolation, hardships and battling against the sexist and racial prejudice of the Australian outback environment, Jeannie strives to win the friendship and respect of those about her. Shot on location in Australia's breathtaking Northern Territory, directed by Igor Auzins (Coolangatta Gold), featuring an epic film score by Award-Winning composer Peter Best (The Picture Show Man), and also starring John Jarratt (The Last Outlaw), We Of The Never Never tells the inspiring true story of a woman overcoming all for love.Special Features: Back To The Never Never (23 mins) Interview featurette with co-producer John B. Murray, director Igor Auzins, composer Peter Best, and lead actors Anglea Punch McGregor & Arthur Dignam.Walkabout Documentary 1974, (27 mins) E xplores ethnologist C.P. Mountford's 1940/1942 expeditions into central Australia to film aspects of the life of the Western Pitjantjatjara people.Behind the Scenes Gallery.Original Motion Picture Soundtrack.Theatrical Trailer.BREAKER MORANTBRAND NEW  4k restoration from original interpos.South Africa, 1901. The British war against the Boers has deteriorated into bitter guerilla warfare. A unit of the Bushveldt Carbineers, made up mainly of Australians, is ordered by the British High Command to fight the Boer on its terms and take no prisoners, an order which will prove fatal to a man they call "The Breaker" - Lieutenant Harry Morant. This classic Australian motion picture of injustice and the horror of war has swept the world to become one of the most acclaimed Australian movies ever made.Director Bruce Beresford (Paradise Road, Mao's Last Dancer) garnered international acclaim for this riveting drama set during a dark period in Australia's colonial history and featuring passionate performances by Edward Woodward (Hot Fuzz), Bryan Brown (Two Hands) and Jack Thompson (The Great Gatsby) rugged cinematography by Donald McAlpine (My Brilliant Career, Patriot Games) and an Oscar®-nominated script based on true events.Special Features: ALL NEW Audio Commentary with Director Bruce Beresford, Producer Matt Carroll and Actors Jack Thompson and Bryan Brown ALL NEW Breaker Morant: The Retrial - Feature-length documentaryEdward Woodward audio interview with John CookThe Breaker - DocumentaryThe Myth Exposed - Director's PostscriptPhoto SlideshowPhoto GalleryHD TrailerUS TrailerBlake HowardTwitterOne Heat Minute Website Alexei ToliopoulosTwitter Total RebootSupport this podcast at — https://redcircle.com/one-heat-minute-productions/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

For today's movie review:It's another film from Down Under and another anti-war film this week, as Adam and Andy review Breaker Morant! Edward Woodward and Bryan Brown star in this 1980 Australian import, have a listen!Check out Breaker Morant (1980)Show Notes:Viewer's Question:What are your favorite Stanley Kubrick movies?Comment/email your answers.Chapters:(~0:00:08) Introduction(~0:00:34) Featured Review(~0:13:36) Viewer's Question(~0:24:38) ClosingLike, comment, or subscribe if you'd want to see more episodes.Feel free to send us a question we can answer on the air to ReelShame@gmail.com or follow us on Instagram @ReelShame.

We are back with Season 2 of We Used To Be Cool! This episode we discuss the top 5 movies we watched during lockdown and how everything is going back to normal whether we like it or not. Drew's Top 5: Never Surrender: A Galaxy Quest Documentary - https://www.youtube.com/watch?v=39cVvN28UXE&t=12s Daniel Isn't Real - https://www.youtube.com/watch?v=k4zOUxHxhXM&t=12s The Swimmer - https://www.youtube.com/watch?v=5EgXRCGSabY&t=90s Superfly (2018) - https://www.youtube.com/watch?v=MQIvV800Atk&t=9s Possessor - https://www.youtube.com/watch?v=FyRkoL45JGk Marc's Top 5: Breaker Morant - https://www.youtube.com/watch?v=49KxYVEGJZI&t=50s There Are No Fakes - https://www.youtube.com/watch?v=1ZMKLNPCyFI This Must Be The Place - https://www.youtube.com/watch?v=kplFGDHuYy4&t=34 Frank & Cindy - https://www.youtube.com/watch?v=ZH6kb8mm2C0&t=56s Out Of The Past - https://www.youtube.com/watch?v=qiIB8Y8PBe8&t=35s

Australia's best selling non-fiction writer Peter FitzSimons chats about his latest book Breaker Morant. In the hands of a master storyteller like FitzSimons, the epic tale of the Boer War and its folk hero Harry 'Breaker' Morant is mesmerising reading and here he details his personal connection and the truth behind the myth. Thanks to CS Consulting Group cscg.com.au experts in all fields of finance (03) 9974 8333.   See omnystudio.com/listener for privacy information.

2 Guys 5 Movies continues its year-end journey through the best movies of 1970, 1980, 1990, and 2000. This week focuses on the top films of 1980, and the list includes the body horror movie, Altered States, the Australian period piece, Breaker Morant, the classic Japanese samurai film, Shogun Assassin, Nicolas Roeg's Bad Timing, and Louis Malle's Atlantic City. If you are a fan of the podcast, there are other two important ways you can help us. First, you can please subscribe, rate, and leave a review on your podcast client. That not only would be useful to us for the feedback, but also help us receive more attention. Second, if you like your Facebook page, 2 Guys 5 Movies, it would be helpful to like or share our posts so others can learn about 2 Guys 5 Movies and decide if it is for them. Finally, if you have your own ideas for the podcast, you can also email us with list suggestions at 2guys5movies@gmail.com, and thank you all for listening and your support.

With special guest: Peter FitzSimons… in conversation with Bill Kable “Shoot straight you bastards! Don’t make a mess of it.” These are the last words of Breaker Morant as he sat on a chair looking at the firing squad about to kill him. These words are well known in Australia as one of the few relics from the first time troops from the Australian continent went into the battlefield in the Boer War. But after reading Peter FitzSimons’ new book titled Breaker Morant the inescapable conclusion is that there are a lot of unknowns in the story of the Breaker. Many of the things we thought we knew are actually fictions usually started by the Breaker himself. Podcast (mp3)

Peter FitzSimons is one of Australia's most prominent and successful media and publishing identities. His busy professional life involves writing weekly columns for the Sydney Morning Herald and Sun Herald newspapers, appearing on Foxtel's The Back Page television show and, when time permits, authoring best-selling books. A correspondent for London's Daily Telegraph as well, he is also in high demand as a guest speaker and presenter. Ahead of the release of 'Breaker Morant', Nick and guest host Matthew Kelly from Hachette Australia sat down with Peter to discuss the history of Breaker Morant, the world of the Boer War, making figures of history live and breathe again, and more. Books mentioned in this podcast: 'Breaker Morant' - Peter FitzSimons: https://bit.ly/3gyM1we Host: Nick Wasiliev & Matthew Kelly Guest: Peter FitzSimons Producer: Nick Wasiliev

Kevin Cherry, founding partner and board certified lawyer at Cherry Petersen Landry Alpert, joins us on today's show. Kevin talks about finding your own way, getting to work early, and being yourself in a job interview. His firm/practice:Practiced at another law firm his first three years out of law school, worked hard, but his heart wasn't in itLeft the law firm and went to work at a real estate company (not practicing law), but that didn't work outFortunate to then become an in-house attorney (1986) and now his heart was in it, and success followedHis job was eliminated when the company was bought, and he had another decision to makeTurned down an offer from a great firm, and instead hung his own shingle (1991)The real estate market was in recovery, he had built up good relationships with his old firm, old company, and others from growing up in DallasAnother firm approached him and wanted to bring him/his practice on; they tried it for a few months but he returned to just his own firmSo his firm was a real estate boutique until 2009 when they added a litigation group20 lawyers (15 real estate transactions plus 5 litigators)Took him a little longer to find his path than others; and that's okay!In real estate law,the lawyers come in at the last minute, when the deal is 75% doneso perspective is trailing the marketretail and office real estate business is toughindustrial/warehouse is goodresidential is good (multi-family pretty good; single family very good)Lots of business in Texas, and the real estate business is local (i.e. relationships)likes that deals are done relatively quickly (compared to litigation)Advice to lawyers in practiceGet to work early!Manage your email and guard your time wellShow that you care about the quality of the work that you are doing; care about every project you doDoesn't mean perfectionism, but consistency and quality; clients can tell!Advice to lawyers who are looking for a jobSmall firm perspective, and it is an inexact scienceDidn't start hiring lawyers from law school until a few years agoHas recently hired on the spot based on referrals and a short interview (strong referral in this circumstance)Looks for a personal connection that he finds compelling, and/or something in their academic record that is impressive (e.g. one interestingIt's not an objective process, no specific GPA, it is individualRelax in an interview and be yourself (he had braces for his interviews and made it through!)Book: What Color is Your Parachute? - lots of nos before a yesRapid Fire QuestionsOne trait or characteristic you most want to see in an associate: humilityWhat habit has been key to your success: keeping up relationshipsFavorite app/tool: podcasts (Megyn Kelly, Michael Lewis, Malcolm Gladwell, Tim Keller)Favorite social distancing activity: bicyclingFavorite legal movie: Breaker Morant (though Wedding Crashers might be if it is a legal movie)Thanks again to Kevin Cherry for joining us on the show!

Breaker Morant is up there with Ned Kelly and Peter Lalor as an archetypal Australian folk hero, but was he really wrongly executed for war crimes - or simply a simply a petty criminal and murderer who got what he deserved?

Bruce Shapiro with the latest on the US Presidential Election and Peter Fitzsimons explodes a few myths in his latest book on Breaker Morant

The fantastic Peter FitzSimons joined Jonesy & Amanda ahead of the release of his incredible new book, Breaker Morant.See omnystudio.com/listener for privacy information.

John Waters is one of Australia’s most recognised and favourite actors. His theatre credits span productions in Australia and the United Kingdom. Demonstrating terrific versatility, John has taken lead roles in an array of plays and musicals. He made is debut as Claude in Harry M. Millar’s production of Hair. Subsequent performances include Godspell, Jesus Christ Superstar, They’re Playing Our Song, An Ideal Husband, The Woman in Black, A Little Night Music, Talk, The Sound of Music, The Graduate, Oliver!, The Rocky Horror Show, My Fair Lady and The Addams Family. As well as his 20-year involvement with the iconic Australian children’s show Play School, his other television credits include City Homicide, The Mystery of a Hansom Cab, The Man from Snowy River, Singapore Sling, All The Rivers Run, Rush, All Saints, Underbelly: The Golden Mile and Division 4 for which he was awarded the TV Week Silver Logie for Best New Talent in 1975.More recently John starred as Darcy in five seasons of the hit series Offspring and Travis James in Mystery Road.His impressive list of feature film credits includes Stealth, The Sugar Factory, High Country, Breaker Morant, Eliza Frazer and Pino Amenta’s Boulevard of Broken Dreams for which he received the AFI (AACTA) Best Actor Award.For 30 years he has been touring the self-penned Looking Through a Glass Onion - a part monologue, part concert that celebrates the man and phenomenon of John Lennon. The show has played throughout Australia, the U.K. and New York.As an accomplished musician, John has released a number of recorded albums and EPs, adding to his illustrious career.The Stages podcast is available from Apple podcasts, Spotify, Whooshkaa and where all good podcasts are found.

Legendary Australian filmmaker Bruce Beresford (Tender Mercies, Breaker Morant) joins me to discuss five songs that have influenced and inspired him from throughout his life and career, plus we talk about the process of shaping the music for his classic film Tender Mercies, the challenges of licensing songs for movies, how he approaches working with screenplays and writers as a director and the projects he’s working on now. Bruce’s six songs are: Dick Powell - Lulu’s Back in Town Elizabeth Welch - Yesterday Leonard Cohen - I’m Your Man Tim Carroll - What’ll We Do Til Then? Lizz Wright - Leave Me Standing Alone Willie Nelson - What Was It You Wanted? Willie Nelson - Last Man Standing

IN THE ROOM this week features independent stars Breaker Morant and Deonna Purrazzo, who will each be featured at ECWA’s 48th Anniversary show this Saturday in Woodbury Heights, NJ! In addition, Purrazzo talks about her affiliation with D2W and their upcoming Autism charity show that same night! Plus, a special surprise call by Mr. Ooh La La, a frank discussion of TNA’s health now that Kurt Angle is preparing to retire and the Hardy Boys are likely gone, and open phone lines for two full hours. All that, plus so … much … more! Thanks, as always, for the support. The VOC NATION RADIO NETWORK airs live and on-demand audio broadcasts 7 days / week via vocnation.com. VOC NATION features contributors such as Brady Hicks (Pro Wrestling Illustrated), "Voice of Choice" Bruce Wirt (WNJC Philadelphia), Stro Maestro (WCW), Wes Brisco (WWE and TNA Impact), Ken Resnick (WWE and AWA), Shelly Martinez (WWE and TNA Impact), and Kathie Fitz! Plus alums such as Chaz "Mosh" Warrington (WWE), Bobby Fish (WWE), Steve Corino (WWE and ECW), Eli Drake (NWA and TNA Impact), and Petey Williams (TNA Impact), as well as some of the hottest wrestlers, analysts, and broadcasters, reaching beyond their extensive wrestling knowledge to discuss sports, lifestyle, politics, and more! Consistently ranking in the top 1% for downloads (Podomatic) and 5% for live streaming (Stitcher), VOC NATION has been streamed by half a million unique visitors! Discover the network that top-notch wrestling and entertainment stars such as Hulk Hogan, Jesse Ventura, Trina Michaels, and Alan Thicke have loved from their first appearances ... and that US Olympic Gold Medalist - and WWE star - Kurt Angle called, "The best talk show that you can hear." It's all here ... on vocnation.com!

This week, Scott and Matt honor the request of Patron Mary F and discuss the 1980 film Breaker Morant.  Also we announce the vote of last week's council of Doof episode on Into the Spider-Verse and discuss the Snyder Cut of Justice League. Which is actually a real thing that is really happening. (Seriously.) Want to make us watch your thing? Check out our Patreon: https://patreon.com/doofmedia Follow us on Twitter: http://www.twitter.com/doofmedia@doofmedia See all of our podcasts, writing, and more at https://doofmedia.com! SHOW NOTES: 1:43 - Main Segment: Breaker Morant *Spoilers* 53:08 - Mini Segment #1: Council of Doof Results! 58:07 - Mini Segment #2: Releasing the Snyder Cut 

The Australian screen legend reflects on his career in film, the state of the local industry today, and the best supporting actor award at Cannes for Breaker Morant that helped put him, and Australian movies, on the map internationally. See omnystudio.com/listener for privacy information.

This week we'll concentrate on surely one of the more unique southern africans of the 18th Century, who's descendents feature as a small independent people in modern South Africa, and who found themselves stuck in a British concentration camp in the northern Transvaal town of Pietersburg in 1901. I was going to return to General Smuts, but he's still meeting with rebels in the far northern Cape. So this week its all about Coenraad de Buys, his long strange journey through southern Africa and how he and his vast family ended up close to the Limpopo river – far away from the Cape Colony. And how his descendants ended up in a British Concentration Camp. Pietersburg was the northernmost Concentration camp in the Transvaal system during the Boer war, isolated and difficult to access, with the road constantly under threat by Boers. By May 1901 the frontier territory was under threat from various directions. The British had secured the town, but Boer commandos continued raiding the region. Insecurity was rife, African societies around the town had never been fully subdued by the Boers when they expanded northwards from the Cape in the 1830s. The frontier area was considered a lawless region and few British troops operated there, except for the notorious Bushveld Carbineers who we've heard about already – remember the Breaker Morant sage. Yet, one of the families living here were the de Buys people who origin dated back to the 1700s. Now they were based near the Soutpansburg to the north, and were regarded as what at the time was called the “In Between people” – in other words, somewhat black, somewhat white, not quite coloured. That sounds mysterious, and the de Buys people are enigmas. I need to explain as their provinence is somewhat extraordinary and probably needs a Netflix series to do it justice. The de Buys people are descendents of a Cape colonial Boer renegade called Coenrad de Buys who escaped from British rule in the late 18th century. You'll see why I need to go back that far in a moment. As with things South African, this story is not one of black and white, it has shades of pink, champagne, salmon, brown, mustard, burnt umber, chocolate and cocoa brown. Not to mention Khaki and smokey topaz. There are many shades of black and white, particularly when you realise the story of South Africa is actually a story of pink and brown. This tale also has shades of surprise for most who don't know about Mr De Buys and his adventures.

Episode 60: Breaker Morant. We are delighted to be joined by Des Latham, host of The Anglo-Boer War Podcast as we examine this 1980 movie’s depiction of an early 1900s British war crimes trial held in South Africa, little known outside Australia and South Africa but within those countries, a case that still resonates loudly … Continue reading "Episode 60: Breaker Morant"

It's an amazing to think that back in 2017 I was thinking about this podcast and whether I should go ahead and cover a topic that was missing on both iTunes and general podcasting. Jumping in and starting in October 2017, the plan was to follow the war as it wound its way through the next three or so years. Now we're on episode 100! We're now well into year two and this podcast series will wrap up at the same time as the Boer war - in May next year. I've tracked the incidents, events and issues through the war on a week by week basis so we're now in August 1901 and as you heard last week, Breaker Morant and his murderous Bushveld Carbineers have been busy across the north of the Transvaal. In the Free State, hundreds of Boers are beginning to arrive close to the Cape Colony border where they'll join up with General Jan Smuts who has been riding from the Transvaal and plans an invasion into the colony. The winter temperatures begin to ease in August. South Africa's high veld as I've explained experiences quite bitter winters with below freezing conditions for most of June and July. However by mid to late August, winds begin to blow and the sun which has been angled low in the north starts rising earlier, setting later and warming everyone. Not a moment too soon. In the Concentration camps now dotted around the interior, the death rate has been creeping up. There are now officially 100 000 Boer civilians - mostly women and children, who are incarcerated in these camps, with another 60 000 black civilians at least. These numbers are now known to have been conservative. Lord Kitchener had published his infamous proclamation of August 7th with an ultimatum to all the Boers' political and military leaders from commandants down to the heads of what he called ‘armed bands'. Anyone who hadn't surrendered by 15th September would be exiled from South Africa for life. What's more, those who had families in the Concentration Camps would be forced to pay for their maintenance which naturally meant their land and property would be seized. This would hit them where it hurt most, he thought. And of course, it would. But General Christiaan de Wet and other hardliners shrugged off Kitchener's threat. There were other ideas beginning to float around at this time. Why shouldn't the British rid themselves of the Boers altogether? This has an ominous sound to it, doesn't it? Kitchener ran his idea of rounding up all the Boers, women, children, old, young, from the camps as well as the 20 000 men in prisoner of war camps overseas. Why not pack these people off to a new region - Fiji perhaps? Willem Leyds had heard some of these wild plans before, but in August 1901 he was shocked when one of these wild plans came from a man by the name of Hyram Maxim. He was a 61 year-old American who had become a naturalised British subject and one of the last people that Queen Victoria had bestowed a knighthood before she died as I mentioned in an earlier podcast. The honour was conferred on Maxim as an inventor. He claimed to have invented the lightbulb, but that was debatable, but he had invented a number of machines including the mousetrap, the merry-go-round and, terrifingly, the machine gun. At the beginning of the letter dated August 1901, Maxim professed to be well disposed towards the Boers. Maxim wrote to Kruger that because of the British numerical superiority, they were inevitably going to win the war. But, there was a way out of this morass believed Maxim. And the horrible truth is that he was completely correct in his basic analysis. The British, by pure dint of their numerical and financial superiority, were going to win the war because they still wanted to win it. So what to do, thought Maxim? Simple, he said. The Boers were going to leave South Africa en masse to establish a new colony in the north of Mexico.

It's early August 1901 and a series of events in a far off corner of the war would end up resonating internationally for the next one hundred and 18 years. These involved the Bushveld Carbineers, the unit of irregular troops from Australia that was eventually disbanded. I covered part of this story in an earlier podcast, Episode 72. Because most of these events happened in August 1901, and that's where we are in our podcast series, we must reconsider the story of Breaker Morant. The events that led to the Morant and his partner in crime, Lieutenant Handcock, are still clouded in controversy. Very few stories resonate so continuously as this. We need to take a closer look once more. By February 1901 a 320-man regiment had been formed by Australian colonel Robert Lenehan which was based in Pietersburg 180 miles north of Pretoria. It was called the Bushveld Carbineers As I've described, the northern Transvaal area where they were based is largely lowveld, extremely hot and dry, dusty in summer, warmer than the high veld where Pretoria is based. There's a slow descent from Pretoria to the low veld town of Pietersburg which is known as Polokwane today. It was also a slow descent into the madness of war for the Bushveld Carbineers and their officers as we will hear. By the summer of 1901, rumours had reached the Officer Commanding at Pietersburg "of poor discipline, unconfirmed murders, drunkenness, and general lawlessness in the Spelonken.” That was the name of the region - Spelonken which itself has a discordant feel. Spelonken means caves in Dutch. The main example of indiscipline was rape. A local woman had accused British Army Officer James Robertson, the officer commanding of the Bushveldt Carbineers A Squadron of sexual assault. In response, Robertson was recalled to HQ and given an ultimatum. Court Martial, or resign his commission. He submitted his resignation and quit the British Army. Modern organisational planning includes what's known as the culture of organisations. And alas, the culture of the the Bushveld Carbineers was steeped in abuse. Former Kitchener Fighting Scout Lieutenant Percy Frederick Hunt was ordered to the northern Transvaal and given command of the Bushveld Carbineers B Squadron. Before leaving Pietersburg in July 1901, the newly promoted Captain Hunt asked for a number of officers to be transferred with him to his new field of command. These officers were Lieutenant's Morant, Charles Hannam and Harry Picton. An emblematic moment as we'll see. The Bushveld Carbineers were building a name for themselves in this region and it wasn't positive. With Hunt officer commanding the detachment at Fort Edward in Spelonken, both lieutenant Morant and Handcock began to reimpose discipline which had been lacking. They would take the concept of retribution far beyond what is acceptable in war.

It's 1980 and Bruce Beresford's courtroom war drama, staring relative unknowns Edward Woodward and Bryan Brown, reached the cinemas, made an impact, and apparently has been forgotten everywhere but Australia. There's a lot to unpack with this one, and all of it good. Settle in for a good look at a hidden gem. And remember Rule 303! 06:15 – Plot Synopsis 36:50 – Why We Chose This Film 42:00 – Analysis 01:14:20 - Other recommendations 01:18:30 – We Score The Film 01:22:35 – Next Month’s Film

This week we explore incidents involving Australians based in Pretoria who committed war crimes and were executed. But what really happened? I'm going to try and detach the myth from the reality about Breaker Morant, Bulala Taylor and the First Ever British Military War Crimes Court Case. It must not be forgotten that the Boer War was Australia's first experience of a sustained imperial war fought beyond its shores. Just exactly what they did is still debated. I've researched these terrible incidents described by a doctor living in Pretoria called Doctor Alexander Kay. We've already heard from him, remember he was besieged in Ladysmith at the start of the war. Much of what he wrote about in his diary was corroborated by independent witnesses and court documents later. Still this remains an emotional tale so I'm going to have to tread very softly indeed. The trouble began at the end of March 1901, when a corps of volunteers was raised by the British in Pretoria under the name of the Bushveld Carbineers. In modern terms, they'd be somewhat like a band of mercenaries, mixed with imperialists, a sprinkling of criminals, some imbued with the character of vigilantes. Most were after treasure. Throw in greed, alcohol and a seriously warped sense of ethics, and that could describe the Bushveld Carbineers. At least, that's what the facts say, so please don't get angry if your ancestors fought in this unit. They were courageous, they were in a war. They were far away from home. The man who came up with the original idea of starting the Bushveld Carbineers was a barman who said he'd build a new unit for the British, but needed five hundred pounds to purchase equipment. As Doctor Kay writes: “…As a reward he was transformed from a bartender to a captain and paymaster…” Furthermore, this publican understood that if he played his cards right, great profits could be made. He could be granted land too, that most profitable of things, along with other financial and capital goods like cattle.

In this episode of Media, Brett Lamb talks with his Year 11 class about the multi award winning film Breaker ... Read moreMedia Episode 22: Australian Stories – Breaker Morant The post Media Episode 22: Australian Stories – Breaker Morant appeared first on lessonbucket.

Highlights from our Open Mic show featuring Master Spoken Word Poet, Ikenna Onyegbula. Hosted by Leroy Jenkonius iii. Featured Artists: Ysolde Sunkio Bazargarid Cody Sandberg Ved Vyas Derek Ndeh Tambe Saranit Vongkiatkajorn DJ Rory Breaker Morant Ikenna Onyegbula

The 90th Academy Awards happen, Tom watches a movie from every decade ever then Dave and Tom review A-Jeiineffur Lowwrentz in A-Russian spy moofie, Red Sparrow. Also: The Birth of a Nation, The Navigator, Westfront 1918, Crossfire, The Big Combo, A Shot in the Dark, Aguirre The Wrath of God, Breaker Morant, Election, Death Proof, Last Men in Aleppo.

Harry "Breaker" Morant was an Australian journalist, poet, drover and military officer. On 27 February 1902 he was executed by the British military for war crimes committed during the Boer War in South Africa. He did it in retaliation for the death of his commanding officer and close friend Captain Percy Hunt.

He created Less Than Kind and Hit On Me, he plays the Burly Russian in Guillermo del Toro’s The Shape of Water and now actor-writer-producer Marvin Kaye rings in the new year with a conversation about Bruce Beresford’s devastating 1980 war drama Breaker Morant. Your genial host Norm Wilner read up on the Boer War for this.

Dave met Daniel from France! He was in town on vacation and they bumped into each other at the Coolidge Corner in Brookline. Dave tells that story, and then the guys have a few things to say about Charlottesville, Va., and then they get into the movies. Evan starts things off with THE HITMAN’S BODYGUARD (7:53), a movie he describes as “Not as bad as I thought it would be.” The guys head down under to BREAKER MORANT at 20:29, and Dave spends waaaaay too much time talking with a terrible Oz accent. Kris covers Errol Morris’ THE B-SIDE: ELSA DORFMAN’S PORTRAIT PHOTOGRAPHY starting at 30:27. Evan takes they guys on a stroll down Amnesia Lane to CROSSING DELANCEY at 38:15, which is a delightfully sweet romantic comedy from the late 1980s. Finally, Kris and Dave cover Werner Herzog’s AGUIRRE, THE WRATH OF GOD at 48:00, which screened on Monday, August 14 in 35mm. Everyone should have access to rep theaters like the Coolidge.

Breaker Morant is an Australian movie released in 1980 that tells the true story of three Australian soldiers of the Bushveldt Carbineers on trial for war crimes near the end of the 1899-1902 Anglo-Boer War in South Africa. Join CJ as he discusses: A brief background on the Boer War A brief synopsis of Breaker Morant […] Learn more about your ad choices. Visit megaphone.fm/adchoices

Episode 75 is with our probably most decorated guest yet, as we have on a UFC Hall Of Famer, UFC Triple Crown Champion, and former two-time NWA World Heavyweight Champion, a man with over 100 wins in his MMA career, and that's not even mentioning his multiple amateur wrestling accolades: Dan "The Beast" Severn.We focus more on Dan's pro wrestling career this episode, with an episode focusing on MMA and UFC to come. We talk about the twist of fate that lead Dan to the pro wrestling business, and training in Lima, Ohio with current TNA star and road agent, Al Snow. After he had wrestling independently and in Japan for a couple of years, Dan was shown a tape of UFC, which had only had a couple of events by that time. He submitted a tape and a resume, and experienced the prejudices of the NHB world against amateur and pro wrestling at that time, though he proved them very wrong. We talk about winning the NWA World Championship off of Chris Candido on a Jim Cornette promoted Smoky Mountain Wrestling card, and working for the NWA under Dennis Coraluzzo. We get into his negotiations with the WWF/WWE, and how he initally felt upon entering the company. We go over his relationship, or lack thereof, with Ken Shamrock, both in the UFC, and the WWF, and why the company never pulled the trigger on their program together. We talk about his alliances and feuds with Shamrock, Steve Blackman, and the late Owen Hart, including a story about the "piledriver angle" with Owen and Dan that many people may not know. Severn wrestled The Rock at King Of The Ring '98, and he talks about his feelings for him at that time, as well as why he was in and out of the "Brawl For All" tournament. We also talk about the "Attitude Era," and whether or not there were any angles proposed for him that he was uncomfortable with, or that he flat out refused. We also talk about his feelings on the WWE calling Brock Lesnar "The Beast Incarnate," as well as many other topics with Mr Severn. Dan Severn's book, "The Realest Guy In The Room," is available now on Amazon and the What Culture store. Please follow all of Dan's appearances at DanSevern.comFor those of you in the Philly area, Delco Pro Wrestling returns to Briarcliffe, PA this Sunday at 3PM at the Briarcliffe Field house with stars like Breaker Morant, Robbie E, Maria Manic, Missy Sampson, The Extreme Rednecks, and Nick Berk. And for you MMA fans in the PA area, Locked In The Cage returns with "Locked In The Cage 17," in Chambersburg, PA on Saturday October 8th at The Orchards Ballroom, at 7 PM.Please rate, review, follow, and subscribe to Creative Control on iTunes and Stitcher, and check out the Creative Control Pro Wrestling Tees store, at prowrestlingtees.com/ccwithjoefeeney

Guns of Hollywood looks at all the guns and action in the Australian film Breaker Morant.

Guns of Hollywood looks at all the guns and action in the Australian film Breaker Morant.

This is the first Criterion Close-Up double feature. Mark and Aaron take a close look at two films from Bruce Beresford, released theatrically a decade apart and just recently as part of The Criterion Collection. We look at Breaker Morant and how it reconciled British Colonialism on both its subjects and enemies, and how it dispensed justice. We then look at Mister Johnson, which deals with colonial issues such as commerce and civilization. About the films: At the turn of the twentieth century, three Australian army lieutenants are court-martialed for alleged war crimes committed while fighting in South Africa. With no time to prepare, an Australian major, appointed as defense attorney, must prove that they were just following orders and are being made into political pawns by the British imperial command. Director Bruce Beresford garnered international acclaim for this riveting drama set during a dark period in his country's colonial history, and featuring passionate performances by Edward Woodward, Bryan Brown, and Jack Thompson; rugged cinematography by Donald McAlpine; and an Oscar-nominated script, based on true events. A decade after he broke through with Breaker Morant, Australian director Bruce Beresford made another acclaimed film about the effects of colonialism on the individual. In a performance that earned him the Berlin Film Festival's Silver Bear for best actor, Maynard Eziashi plays the title character, a Nigerian villager eager to work as a civil servant for the British authorities, including a sympathetic district officer (Pierce Brosnan), in the hope that it will benefit him in the future. Instead, his ambition leads to his tragic downfall. Mister Johnson, based on the 1939 novel by Joyce Cary, is a graceful, heartfelt drama about the limits of idealism, affectingly acted and handsomely shot. Subscribe to the podcast via RSS or in iTunes Buy The Films On Amazon: Episode Links & Notes 0:00 – Intro 2:55 – Criterion Connection 5:00 – Overview of Show for CriterionCast Listeners 8:50 – Schedule Changes 10:15 – Changes to News 12:20 – What Have We Seen Lately? aka Short Takes 22:00 – Breaker Morant 1:15:15 – Mister Johnson Podcast Schedule CriterionCast Newsstand Episode Breaker Morant Facebook Photo Album Episode Credits Mark Hurne: Twitter | Letterboxd Aaron West: Twitter | Blog | Letterboxd Criterion Close-Up: Facebook | Twitter | Email Next time on the podcast: A Conversation with a Criterion Cover Artist

This is the first Criterion Close-Up double feature. Mark and Aaron take a close look at two films from Bruce Beresford, released theatrically a decade apart and just recently as part of The Criterion Collection.

Mark and Aaron start the New Year as members of CriterionCast, and jump into the world of Merchant Ivory's A Room with a View. With such a lavish, large production with quite an ensemble of characters, there is a lot to say. We discuss the social constraints placed upon the characters, and how some groups have opposing world views that resemble traditional versus modernity, while also touching on the nature of wealth, class, and even gender. We also enjoy discussing how the film surprisingly works as a dry comedy, and we are pleased to have Merchant & Ivory back in print in the Criterion Collection. About the film: Merchant Ivory Productions, led by director James Ivory and producer Ismail Merchant, became a household name with A Room with a View, the first of their extraordinary adaptations of E. M. Forster novels. A cherubic nineteen-year-old Helena Bonham Carter plays Lucy Honeychurch, a young, independent- minded, upper-class Edwardian woman who is trying to sort out her burgeoning romantic feelings, divided between an enigmatic free spirit (Julian Sands) she meets on vacation in Florence and the priggish bookworm (Daniel Day-Lewis) to whom she becomes engaged back in the more corseted Surrey. Funny, sexy, and sophisticated, this gargantuan art-house hit features a sublime supporting cast–including Subscribe to the podcast via RSS or in iTunes Buy The Film On Amazon: Episode Links & Notes 0:00 – Intro, Criterion Cast Announcement 7:00 – New Year's Discussion 13:30 – Ghost of Trevor 14:55 – CriterionCast Blu-Ray discussion 19:35 – New Week's Guest 21:15 – Not Really Any News 23:55 – A Room with a View CriterionCast Announcement CriterionCast Master Feed CriterionCast Blu-Ray Wish list episode CriterionCast Favorites of 2015 CriterionCast Wacky New Year's Drawing A Room With a View Trevor's A Room with a View review Criterion | IMDB Cohen Media Group Acquires Merchant Ivory Titles Episode Credits Mark Hurne: Twitter | Letterboxd Aaron West: Twitter | Blog | Letterboxd Criterion Close-Up: Facebook | Twitter | Email Next time on the podcast: Bruce Beresford's Breaker Morant, Mister Johnson

Tyler and David discuss what they've watched recently, including Vertigo and Psycho.

IN MEMORY OF.... BREAKER MORANT! 303! KNIFE FIGHTS! COWBOYS OF VENGEANCE! MAURICE JARRE! And all the creative work we will now be without! COMBAT RADIO'S FINAL BROADCAST OF THE YEAR! A year in review in memory of those we loved and lost... Special thanks to all our guests this past year, from IRON MAIDEN to COOLIO. GIL GARCETTI to the cast of Aliens. From SONNY LANDHAM (Predator) to DAVE WAKELING (The English Beat) JAY ASTON and JAMES STEVENSON (Gene Loves Jezebel, The Cult, The Alarm) to members of the UFC. JAMIE DUKES (NFL Network) to TASMIN ARCHER. From BRUCE THOMAS (Elvis Costello) to MARTHA DAVIS (The Motels). NICK MARSH to DEREK FORBES and MICK MACNEIL (Simple Minds). From DAVID ANTHONY MARSHALL, JOHN PHILBIN and CAMDEN TOY (Buffy The Vampire Slayer) to JEFF CONAWAY and the cast of Celebrity Rehab. And to SAM HASSAN, SHEENA METAL, BRIAN SOMMERS (The Voice of Disneyland), HAROLD PAYNE and BONNY WOMACK, LOTA HADLEY (all her charity work) and SHAWN ROBIN TYLER and to all our FANS, FRIENDS and their FAMILIES.....THANK YOU!

TheNational Gallery of Australia presents a three-day film festival highlighting renowned Australian film director Bruce Beresford. The Oscar-nominated director will share his experiences of filmmaking across the weekend, as part of the celebrity lecture series supporting the highly regarded exhibition George W Lambert retrospective: heroes and icons. This exciting festival commences on Friday 3 August 2007 at 6 pm with AFI award-winning director Bruce Beresford discussing his filmmaking career, and in particular, the making of two of his influential movies, the acclaimed Breaker Morant and his more recent film Bride of the wind. Guests are invited to attend an after-hours exhibition viewing and refreshment. Film sessions will continue over the weekend with Bruce Beresford personally introducing each of his films. The Bruce Beresford celebrity festival is in support of the NGA’s winter exhibition George W Lambert retrospective: heroes and icons that includes a portrait of the controversial Australian character Breaker Morant sketched by Lambert. http://nga.gov.au/AboutUs/press/Beresford.cfm