Tag Archives: Mark Hartley

Spirit of 96: the story behind Cash Harmon’s Number 96

SpiritAustralian readers who have followed my site for a while will be aware of my interest in 1970s Australian television, including the soap opera Number 96. Number 96, which I have previously written about here, depicted the lives of the residents of a fictitious block of inner Sydney flats. Debuting on March 13 1972, the racy content caused moral outrage on the part of religious groups. It was a huge success with audiences, however, who were keen to dive head first into the warm water of the increasingly sexually liberated early seventies.

When I discovered Melbourne man Nigel Giles was compiling a oral history of the show and pitching for funds on Pozible to publish a book on the subject, I immediately thought it was something Pulp Curry readers would be interested in and might also wish to contribute to.

The book is titled Spirit of 96: the story behind Cash Harmon’s Number 96. You can find the page for Nigel’s Number 96 Pozible campaign here.

Below Nigel discusses why Number 96 was so controversial and successful, and how it deserves recognition as one of Australia’s most significant television shows.

In the 1970s there was one TV show that had the whole country talking. When the adults-only soapie Number 96 debuted on our screens in March 1972 it was hailed as the night Television lost its virginity!… Read more

My 2014 Melbourne International Film Festival top ten

sorcerer-truck-on-bridgeThe Melbourne International Film Festival (MIFF) kicks off in few days. As usual, there’s a packed program full of cinematic goodness. If you’re wanting to check some films out but are stumped as to what to see, here’s my ten picks.

Sorcerer, 1977

The newly remastered print of Sorcerer, William Freidkin’s 1977 homage to Henri-Georges Clouzot’s 1953 classic, The Wages of Fear, is up there as one of my top MIFF picks for the festival. The story is about a group of four men, each of them on the run from various sins committed in their past life, who are hired to transport a truck load of volatile dynamite across an incredibly hostile stretch of Central American jungle. Freidkin may be better known as the director of The French Connection (1971) and The Exorcist (1973) but this hard boiled slice of pure cinematic noir is, in my opinion, his best film.

Electric Boogaloo: The Wild Untold Story of Cannon Films – 2014

I really enjoyed Mark Hartley’s documentaries, Not Quite Hollywood (2008), about Australia’s Ozsploitation film scene, and Machete Maidens Unleashed (2010), his look at American film making in the Philippines in the seventies and eighties, so expectations are high for this one. Electric Boogaloo is the story of Cannon Films, the Hollywood B-studio responsible for such cinema gems as Lifeforce (1985) and the pre-Rambo, Rambo film, Missing In Action (1984).… Read more

Machete Maidens Unleashed: American genre movies in the Philippine jungle

MaidensI love documentaries about filmmaking. Every now and again one of comes along that gives you a particularly fascinating insight into part of the world of cinema you never knew existed.

Machete Maidens Unleashed, the latest effort from the director of Not Quite Hollywood, Mark Hartley, is one of these films.

From the beginning of the seventies well into the early nineties, the Philippines was the location of choice for every American B movie hack (or visionary, take your pick) wanting to make a movie.

They churned out horror, action, and kung fu pics, Blaxsploitation, the classic Western-women-in-third-world-prison films (such as Big Dolls House), and a whole lot more, blurring all the lines and genres. They did a version of Jaws. They even ripped off James Bond in a low-budget cult classic called For Your Height Only, staring an 83cm Filipino dwarf called Weng Weng.

It is this largely unknown world of Filipino genre films that Hartley has turned his attention to in Machete Maidens Unleashed, which had its world premier in late July at the Melbourne International Film Festival.

Hartley traces the origins of this wave of movies, from the first B-monster pics such as Brides of Blood to the arrival in the early seventies of independent cinema greats like Roger Corman, Joe Dante and John Landis, to Francis Ford Coppola’s bloated Vietnam era pic, Apocalypse Now.… Read more