CANNES, A daft and endearing comedy, "Billy's Holiday" is the story of a stumpy, middle-aged hardware store owner who discovers he has a talent for singing like Billie Holiday. It's an incredible, warm-hearted "Cinderella" story, which, unfortunately, trips over its many time signatures. Still, it's one of the most likable movies to screen at this year's market. Best prospects in the United States may be as a remake: This nostalgic, spry comedy would make for an ideal pairing of Dudley Moore and Blake Edwards.
Life has been decidedly flat lately for 50-ish Billy (Max Cullen). Although he still plays trombone and croons a bit in a band, his main preoccupation is raising his teen-age daughter (Kris McQuade) in the wake of his wife's desertion six year's earlier. A former entertainer, he's past his prime and wallows in performing the oldies now in Saturday-night stints. For Billy
life's refrain is all repetition with no new riffs in sight. Then one fine morning, while warbling in the shower, he finds that he sounds just like Billie Holiday. Realizing his life needs a boost, he surprises the band on Saturday night, and, to his grand amazement, brings down the house.
Undeniably, screenwriter Denis Whitburn's scenario rests squarely on the central comic gimmick of an ordinary Australian bloke sounding just like the sultry black blues artist, but it's also lined with a winning track of self-revitalization as over-the-hill Billy rediscovers his passions.
In this boom-box age, older viewers in particular will thrill to the soundtrack's succulent Big Band oldies as well as be amused by the film's satirical slant on the record business. While Richard Wherrett's direction is cheerfully cheeky, it's also a bit boxy, particularly with its group stagings and choreography. Still, Wherrett's directorial baton brings forth some amusing and warm moments.
Cullen is a bundle of pixie-ish charm as the hardwareman/songstress, while Genevieve Lemon is fittingly garish as his self-absorbed ex-wife.
Technical contributions are topped off by the film's liltingly romantic musical numbers, a testament to musical director Peter Cobbin's astute sensibility.
`Holiday'
BILLY'S HOLIDAY
Beyond Films Ltd.
Producers Tristram Miall, Denis Whitburn
Director Richard Wherrett
Screenwriter Denis Whitburn
Production supervisor Sally Ayre-Smith
Musical director Peter Cobbin
Director of photography Roger Lanser
Editor Sue Blainey
Costume designer Terry Ryan
Production designer Michael Scott-Mitchell
Choreography Kim Walker
Color/Stereo
CAST:
Billy Apples Max Cullen
Kate Hammond Kris McQuade
Sid Banks Drew Forsyth
Julie Coates Genevieve Lemon
Louise Appleby Tin Bursill
Rob McSpedden Richard Roxburgh
Running time - 98 minutes
(c) The Hollywood Reporter...
Life has been decidedly flat lately for 50-ish Billy (Max Cullen). Although he still plays trombone and croons a bit in a band, his main preoccupation is raising his teen-age daughter (Kris McQuade) in the wake of his wife's desertion six year's earlier. A former entertainer, he's past his prime and wallows in performing the oldies now in Saturday-night stints. For Billy
life's refrain is all repetition with no new riffs in sight. Then one fine morning, while warbling in the shower, he finds that he sounds just like Billie Holiday. Realizing his life needs a boost, he surprises the band on Saturday night, and, to his grand amazement, brings down the house.
Undeniably, screenwriter Denis Whitburn's scenario rests squarely on the central comic gimmick of an ordinary Australian bloke sounding just like the sultry black blues artist, but it's also lined with a winning track of self-revitalization as over-the-hill Billy rediscovers his passions.
In this boom-box age, older viewers in particular will thrill to the soundtrack's succulent Big Band oldies as well as be amused by the film's satirical slant on the record business. While Richard Wherrett's direction is cheerfully cheeky, it's also a bit boxy, particularly with its group stagings and choreography. Still, Wherrett's directorial baton brings forth some amusing and warm moments.
Cullen is a bundle of pixie-ish charm as the hardwareman/songstress, while Genevieve Lemon is fittingly garish as his self-absorbed ex-wife.
Technical contributions are topped off by the film's liltingly romantic musical numbers, a testament to musical director Peter Cobbin's astute sensibility.
`Holiday'
BILLY'S HOLIDAY
Beyond Films Ltd.
Producers Tristram Miall, Denis Whitburn
Director Richard Wherrett
Screenwriter Denis Whitburn
Production supervisor Sally Ayre-Smith
Musical director Peter Cobbin
Director of photography Roger Lanser
Editor Sue Blainey
Costume designer Terry Ryan
Production designer Michael Scott-Mitchell
Choreography Kim Walker
Color/Stereo
CAST:
Billy Apples Max Cullen
Kate Hammond Kris McQuade
Sid Banks Drew Forsyth
Julie Coates Genevieve Lemon
Louise Appleby Tin Bursill
Rob McSpedden Richard Roxburgh
Running time - 98 minutes
(c) The Hollywood Reporter...
- 5/25/1995
- The Hollywood Reporter - Movie News
In scrutinizing a historical footnote to World War II, this Australian film paints a harrowing portrait of war crimes and political power.
Brilliantly acted and photographed, ''Prisoners'' nevertheless faces an uncertain boxoffice in the United States, where the grim nature of the subject matter will tempt only the most serious adult moviegoer. Yet if ever there were a time for a film which demonstrates that making peace is a trickier business than waging war, it's now.
Brian A.Williams, who co-authored the script with Denis Whitburn, bases the story on his father's experiences as an Australian military lawyer prosecuting Japanese war criminals on the little-known Indonesian island of Ambon.
After the Japanese surrender in 1945, Australian liberators uncovered a mass grave on the island containing the remains of hundreds of Australian prisoners of war. The Australians put on trial all the Japanese officers and soldiers who controlled the POW camp in hopes of bringing forth evidence of who was truly responsible.
The fictional counterpart of Williams' father, Capt. Cooper, played with smoldering anger by Bryan Brown, is after a big fish -- Vice Adm. Baron Takahashi (''Star Trek's'' George Takei). The Oxford-educated aristocrat, who commanded the camp, clearly had to be the one who ordered the tortures and executions of the POWs. But Cooper has no real evidence.
Soon Cooper becomes aware of behind-the-scenes political maneuvering in which not only his commanding officer (John Bach) but an American major (Terry O'Quinn) are working to make certain Takahashi is acquitted.
The Americans in Tokyo have postwar plans for the Admiral. And they don't want the embarrassment of a conviction for brutal war crimes to interfere with those plans.
The script lays out the issues coolly, letting the images of unearthed, beheaded skeletons and looks on the faces of Australians and Japanese alike tell the emotional story.
Director Stephen Wallace gains excellent performances from a talented cast. As he did in his 1980 prison drama, ''Stir, '' Wallace shows a flair for dramatizing issues among tough men in claustrophobic situations.
Cinematographer Russell Boyd, one of Australia's best, catches the vivid colors of the dark jungles and sweaty barracks. (The film was shot in and around the Warner Roadshow Studio complex in Queensland.)
The film does bog down in the talkier passages. And none of the characters achieves a larger-than-life dimension. Only the situation makes them interesting people.
This docudrama is more docu than drama. Williams, who also co-produced, may have felt a need to stick to the historical record at the expense of a fiction which might have achieved a greater truth.
Whatever the case, ''Prisoners'' offers an illuminating chapter on the always sad tale of men and warfare.
PRISONERS OF THE SUN
Skouras Pictures
Director Stephen Wallace
Producers Charles Waterstreet, Denis Whitburn, Brian A. Williams
Executive producers Graham Burke, Greg Coote, John Tarnoff
Writers Denis Whitburn, Brian A. Williams
Director of photography Russell Boyd
Production designer Bernard Hides
Music David McHugh
Editor Nicholas Beauman
Costume designer Roger Kirk
Color
Cast:
Capt. Robert Cooper Bryan Brown
Vice Adm. Baron Takahashi George Takei
Maj. Tom Beckett Terry O'Quinn
Maj. Frank Roberts John Bach
Lt. Hideo Tanaka Toshi Shioya
Capt. Wadami Ikeuchi Tetsu Watanabe
Pvt. Jimmy Fenton John Polson
Sister Carol Littel lDeborah Unger
Running time -- 109 minutes
MPAA Rating: R
(c) The Hollywood Reporter...
Brilliantly acted and photographed, ''Prisoners'' nevertheless faces an uncertain boxoffice in the United States, where the grim nature of the subject matter will tempt only the most serious adult moviegoer. Yet if ever there were a time for a film which demonstrates that making peace is a trickier business than waging war, it's now.
Brian A.Williams, who co-authored the script with Denis Whitburn, bases the story on his father's experiences as an Australian military lawyer prosecuting Japanese war criminals on the little-known Indonesian island of Ambon.
After the Japanese surrender in 1945, Australian liberators uncovered a mass grave on the island containing the remains of hundreds of Australian prisoners of war. The Australians put on trial all the Japanese officers and soldiers who controlled the POW camp in hopes of bringing forth evidence of who was truly responsible.
The fictional counterpart of Williams' father, Capt. Cooper, played with smoldering anger by Bryan Brown, is after a big fish -- Vice Adm. Baron Takahashi (''Star Trek's'' George Takei). The Oxford-educated aristocrat, who commanded the camp, clearly had to be the one who ordered the tortures and executions of the POWs. But Cooper has no real evidence.
Soon Cooper becomes aware of behind-the-scenes political maneuvering in which not only his commanding officer (John Bach) but an American major (Terry O'Quinn) are working to make certain Takahashi is acquitted.
The Americans in Tokyo have postwar plans for the Admiral. And they don't want the embarrassment of a conviction for brutal war crimes to interfere with those plans.
The script lays out the issues coolly, letting the images of unearthed, beheaded skeletons and looks on the faces of Australians and Japanese alike tell the emotional story.
Director Stephen Wallace gains excellent performances from a talented cast. As he did in his 1980 prison drama, ''Stir, '' Wallace shows a flair for dramatizing issues among tough men in claustrophobic situations.
Cinematographer Russell Boyd, one of Australia's best, catches the vivid colors of the dark jungles and sweaty barracks. (The film was shot in and around the Warner Roadshow Studio complex in Queensland.)
The film does bog down in the talkier passages. And none of the characters achieves a larger-than-life dimension. Only the situation makes them interesting people.
This docudrama is more docu than drama. Williams, who also co-produced, may have felt a need to stick to the historical record at the expense of a fiction which might have achieved a greater truth.
Whatever the case, ''Prisoners'' offers an illuminating chapter on the always sad tale of men and warfare.
PRISONERS OF THE SUN
Skouras Pictures
Director Stephen Wallace
Producers Charles Waterstreet, Denis Whitburn, Brian A. Williams
Executive producers Graham Burke, Greg Coote, John Tarnoff
Writers Denis Whitburn, Brian A. Williams
Director of photography Russell Boyd
Production designer Bernard Hides
Music David McHugh
Editor Nicholas Beauman
Costume designer Roger Kirk
Color
Cast:
Capt. Robert Cooper Bryan Brown
Vice Adm. Baron Takahashi George Takei
Maj. Tom Beckett Terry O'Quinn
Maj. Frank Roberts John Bach
Lt. Hideo Tanaka Toshi Shioya
Capt. Wadami Ikeuchi Tetsu Watanabe
Pvt. Jimmy Fenton John Polson
Sister Carol Littel lDeborah Unger
Running time -- 109 minutes
MPAA Rating: R
(c) The Hollywood Reporter...
- 7/18/1991
- The Hollywood Reporter - Movie News
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