Who is fatty finn

Frank Wilson Lord Mayor. Peter Carroll Teacher. Ross Higgins Radio Announcer. Maurice Murphy Director. Brian Rosen Producer. See Movies in Theaters. There are no approved quotes yet for this movie. Best Horror Movies. Worst Superhero Movies. Best Netflix Series and Shows.

Go back. More trailers. Dexter: New Blood: Season 1. The Shrink Next Door: Season 1. No Score Yet. Yellowstone: Season 4. Blade Runner: Black Lotus: Season 1. Gentefied: Season 2. The Game: Season 1.

Always Jane: Season 1. Condor: Season 2. South Side: Season 2. Paris in Love: Season 1. The Challenge: All Stars: Season 2. There are visual jokes, which have to be organized by the director, but usually I like the humor that comes from the performers. And if the director interferes with that too much, he is likely to shatter the comic nature of a scene. I have always found it difficult making the actors do specific things to a specific timing - to open a door at a precise moment, so it is perfect for the camera and so on.

I prefer to make the camera perfect for the performer. As usual, after berating the resulting film as garish, unfunny and miscalculated, co-scriptwriter Bob Ellis cannily predicted the film would do well commercially:. I think it will make a lot of money. It has a lot of energy - it is a sort of pre-pubescent Grease - and its visual style is nothing less than amazing.

It's not a world I have inhabited or seen from afar, but it has its own kind of consistency. All the performances are dreadful, the conspicuous exception being Bert Newton's. It's also over-emphatic, but what can I say? Terry Jackman's kid loves it.

Jackman was at the time a senior player in Hoyts' theatrical exhibition and distribution business. Cinema Papers , as above. Director Maurice Murphy had a clear idea of how he wanted to relate to an audience:. I find it very strange so many people are negative about the best year in Australian filmmaking.

We are part of the Australian entertainment industry. We are catching up in our understanding of that business. For decades this country forgot that human beings like to be entertained.

Television still hasn't found that out. Now, one problem is that we may not have enough people capable of making these entertainments. Most of the film people here were trained in documentary and this could lead to a spate of factual films. But everybody knows audiences don't go to factual films. I want audiences to leave Fatty Finn and say they had a good time. I don't want them to ponder over whether the s was a hard period to live through.

A documentary about the s being awful is 50 years too late. I think you can trace the demise of the film industry in the s from when it got into realism. A certain amount of realism is fine, but when producers and directors started to try and make films real, audiences disappeared. When they stopped doing that, people came back to films. Airport 77, Earthquake or Towering Inferno aren't real - and you are quite happy to know they are not.

You don't want a documentary about a building burning down; you want the biggest fire, where the most ridiculous things happen … Cinema Papers interview, as above. Some might dispute Murphy's assertions about s films especially in the context of the economic difficulties faced by the few Australian-based films actually made at the time what to make of the two Smiley films, and, in an international setting, how to explain CinemaScope and Ben-Hur with his thesis?

But there's no disputing Fatty Finn is a long way from realism, perhaps too far for some tastes, but capable of attracting and pleasing a domestic audience at the time, even though references to Don Bradman and crystal radio sets would have been arcane for young audiences.

I had never imagined Fatty Finn being able to drag children away from their television sets or from films like Empire Strikes Back. People who don't pretend to be sophisticated really like Fatty Finn. Of course, sophisticated people did as well, but I aim to make films for people who assess the film they go to and don't feel the need to compare it with other films.

I've always found it fascinating that people say, "The Sydney Sun is nowhere near as good as The Observer. The people who assess scripts - distributors, film producers, whoever - are just the same.

They are always saying, "Bunuel didn't do this. For God's sake, I just want to enjoy a film for what it i s. Murphy said he he wanted to make different films: I hope I never make anything that's like anything else. He managed at least that aim with Fatty Finn.

The next children's film to adapt an Australian comic, Ginger Meggs , contains many ideas derived from Murphy's show, and it adopted a similarly broad style.

However Fatty Finn didn't travel well internationally. It was liked in the UK, perhaps because the exaggerated style and the references to cricket and Bradman didn't sound exotic to a British audience. T he nostalgia, the garish costumes and the exaggerated performances also had something of the air of an English seaside pantomine.

But other territories found it too exotic, and too specifically Australian. Writer Bob Ellis argued vigorously at the time against the Antony Ginnane style exploitation thrillers, with B grade international casts Harlequin , and strongly in favour of cultural specificity. By grounding a film in its native culture, Ellis proposed, it would be both truer and more engaging to audiences everywhere.

This turned out to be optimistic in relation to the United States market, long trained to be parochial and xenophobic by Hollywood. But remembering that at the time it was estimated that a film needed to do four times its budget to break even, the failure to do international business helps explain why the film struggled to break even, and why now it is rarity on the home release circuit, beyond a small DVD release in the UK.

This is a pity, because whatever the film's flaws - and its determinedly eccentric style - its cultural specificity remains interesting, at least for Australian viewers. Lyrics for the song that runs over the film's head titles a musical version of this number goes over the tail credits :. See all 2 brand new listings. Buy It Now.

Add to cart. Sold by chaptersbookstoredvds Keen to listen to a blockbuster Ashes Test match between the English and Australian cricket teams, featuring his all-time sports hero Donald Bradman, Fatty endeavors to raise money for a crystal radio set - selling bottles, collecting horse manure and even organising a lively street fair.

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Trivia This movie was made and released about fifty-three years after the first and original 'Fatty Finn' movie, The Kid Stakes User reviews 4 Review. Top review. Excellent Film. What an excellent movie. The acting, writing, costumes to name but a few things were fantastic.

Interesting to note that Alison Barrett who did the casting is still around and has many fine casting credits up her sleeve including "Pricilla Queen of the Desert" and "Muriels Wedding". Although it's a pity we haven't seen more films directed by Maurice Murphy. He's a fine director. Bugsy-8 Oct 3,