Certainly "Lovers and Luggers" has its defects: — some minor (a bit of obvious process work, especially near the beginning; one or two unflattering profile shots of Miss Hamill) and a number that are more irritating (a too-juicy performance from Ron Whelan and overly theatrical thrusts from Sidney Wheeler, though he does handle some later dramatic moments with greater sensitivity).
At 100 minutes, the film is the longest Cinesound ever made on its own account, and could stand just a little trimming after the action climax, just 5 minutes or so). Plus one major shortcoming: — Lloyd "Midnight Phantom" Hughes lacks the charisma, depth and sympathy required of the hero. He often mechanically recites his lines without feeling the part.
Fortunately, all these problems tend to fade away when confronted with the film's virtues: — its superlative photography, in particular Captain Hurley's evocatively picturesque images of Thursday Island; plus the entrancing Shirley Ann Richards as the spunky little heroine and ultra-glamorous Elaine Hamill as a svelte femme fatale; plus James Raglan, wonderfully convincing as the despairing pearler; and of course, Alec Kellaway, appealingly off- beat, as usual, as the comically desperate McTavish.
Ken G. Hall has directed and produced with his usual smooth finesse. Music, art direction and wardrobe attire all conjure a feast for the senses, whilst the script provides a reasonably engaging plot on which to hang drama, comedy and romance. Its mockingly sardonic dialogue gives many of the characterizations an unusual edge. Above all, the movie allows for many glimpses of Thursday Island's long-vanished traditions and customs. Yes, it's a great setting, which director Ken G. Hall & Co. have most effectively utilized.
At 100 minutes, the film is the longest Cinesound ever made on its own account, and could stand just a little trimming after the action climax, just 5 minutes or so). Plus one major shortcoming: — Lloyd "Midnight Phantom" Hughes lacks the charisma, depth and sympathy required of the hero. He often mechanically recites his lines without feeling the part.
Fortunately, all these problems tend to fade away when confronted with the film's virtues: — its superlative photography, in particular Captain Hurley's evocatively picturesque images of Thursday Island; plus the entrancing Shirley Ann Richards as the spunky little heroine and ultra-glamorous Elaine Hamill as a svelte femme fatale; plus James Raglan, wonderfully convincing as the despairing pearler; and of course, Alec Kellaway, appealingly off- beat, as usual, as the comically desperate McTavish.
Ken G. Hall has directed and produced with his usual smooth finesse. Music, art direction and wardrobe attire all conjure a feast for the senses, whilst the script provides a reasonably engaging plot on which to hang drama, comedy and romance. Its mockingly sardonic dialogue gives many of the characterizations an unusual edge. Above all, the movie allows for many glimpses of Thursday Island's long-vanished traditions and customs. Yes, it's a great setting, which director Ken G. Hall & Co. have most effectively utilized.
