February 12, 2024 • 61 mins
Strap in for a journey down memory lane as we're joined by the ever-insightful Matt Fulton to revisit the rollicking world of '70s Australian sex comedies. Together, we traverse the risqué landscape of "Alvin Purple" and its sequel "Alvin Rides Again," dissecting how these flicks navigated the era's sexual liberation while tickling the nation's funny bone. From the critical lashings to the box office success, we dissect the allure of Alvin's mishaps, examining the films’ cultural impact and their unique position in Aussie cinematic lore.
With a mischievous chuckle, Matt and I explore the first film's clever blend of humor and eroticism, orchestrated by the sharp-witted Tim Burstall. We ponder the satirical role reversal of the sexual chase and how it mirrored the period's changing attitudes towards women's liberation and sex therapy. As we crack open the darker tones of the sequel, we delve into the complex narrative choices that stirred both entertainment and reflection during the transformative '70s.
Lastly, we can't help but let out a hearty laugh as we discuss the unexpected narrative acrobatics of "Alvin Rides Again." From sex comedy to action-packed pastiche, we marvel at the sequel's leap into Bond-esque territory, complete with rocket launchers and speedboat chases. It's a wild ride through some of the most iconic, albeit occasionally cringe-worthy, moments in Australian film history that will leave you both nostalgic and critically engaged. Join us for this cheeky trip down memory lane, where Aussie cinema once dared to bare with a confident swagger.
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Matt Fulton (00:01):
You're listening to Monster Kid Podcast.
Pete Iacono (01:06):
Welcome to A Dingo \Ate My Movie, a podcast about
the weird and wonderfulAustralian movies from the 70's,
80's and beyond.
I'm your host, Pete, and todayI'm joined by Matt Fulton as we
leap headfirst into Alvin Purplefrom 1973 and Alvin rides,
again from 1974.
Good morning, matt.
How are you, mate?
Matt Fulton (01:26):
Peter, I'm good.
I'm still recovering from myprevious experience of Houseboat
horror.
Pete Iacono (01:32):
All right, so a few quick thoughts, opening
thoughts on these two movies,like what a strange double this
is, and I know I was justlooking this morning at a
trailer for Melvin's Son ofAlvin and I was like oh, should
we have done that one.
And when I looked at thetrailer I was like no.
Matt Fulton (01:53):
Oh, the fact that you watched the trailer.
I'm not even brave enough,especially after watching the
second film in this trilogy.
I guess you would call it.
Pete Iacono (02:06):
Did you know there was also a TV series.
Matt Fulton (02:08):
Yes, there is one episode floating around on
YouTube.
Pete Iacono (02:12):
Yeah, yeah, it's amazing, the series I saw some
video of I'm trying to rememberwho it was on ABC.
It was like on one of those ABCcomedy shows or something like
that.
Talking about the episode, allI can remember seeing with the
clips of the episode this showwas Alvin Purple in a bath with
a woman in the bath was full ofspaghetti.
(02:33):
Oh and yeah, it was quite gross.
Matt Fulton (02:38):
What a waste of spaghetti.
Pete Iacono (02:40):
He was being pursued by some criminals or
something, I think.
If I remember, the maincriminal guy was I forgot the
actor's name, but he was theboyfriend of the daughter of Ted
Bullpit in Kingswood Country.
I'm trying to remember theactor's name now.
Matt Fulton (02:55):
Not Lex Marenos, that's it.
That's it.
Why is it?
Pete Iacono (02:59):
That's what I think it was.
Yeah Well, that's who it lookedlike to me, so where did you
watch it?
Just talking about where peoplecan watch these movies.
Matt Fulton (03:08):
Broly, which is part of the Umbrella's streaming
service, and also on DVD, whichis through Umbrella
Entertainment.
Pete Iacono (03:16):
So we watched it on Netflix, funnily enough and
yeah, I've got both the DVDs aswell I watched Alvin Purple on
Netflix.
I don't think Alvin Rides againis streaming anywhere, or is it
?
Matt Fulton (03:29):
on.
Pete Iacono (03:29):
Broly?
It's not, is it?
I had a bit of a look and I wassurprised that the Broly don't
have it with Alvin Purple, whichis quite odd If people don't
know about Broly.
I know I've spoken about it alittle bit on the last couple of
episodes.
It's a streaming service fromUmbrella which is really great
if you want to catch up onAustralian film and TV shows.
(03:50):
They have all sorts of stuff onthere.
It's a really good streamingservice.
I've got to stop talking aboutit because they're not paying me
, but I just like it anyway.
I like it anyway and if you'rewatching a lot of Australian
films, it's a great place towatch it.
I think it's only available inAustralia, right, but a VPN is
your best friend if you'reliving overseas.
(04:10):
Alvin making me fly by Alvinmaking me lay by Alvin making me
fly, all right.
So we'll start by talking aboutAlvin Purple.
So Alvin Purple is a classicAustralian sex comedy that
(04:32):
became a cult favorite from the1970s.
Film centers around AlvinPurple, played by Graham
Blundell, a young man whoseirresistible appeal to women
seems more a curse than ablessing.
Indeed, despite his ownindifference towards sex which
sounds weird Alvin finds himselfrelentlessly pursued by women,
leading to a series of comedicand often awkward encounters.
(04:53):
The movie humorously exploresthemes of sexual liberation and
societal norms through Alvin'sescapades and misadventures.
Supporting Blundell is a castthat includes Abigail very, very
short appearance Lynette Curranand Jackie Weaver, which is
she's got an interesting littlepart under the direction of Tim
Burstle.
The film satirizes the sexualrevolution of the era, poking
(05:17):
fun at attitudes towardsmasculinity and femininity.
Its candid portrayal of sex andhumor ensured its place as a
memorable piece of Australiancinema history.
The film had a budget of$200,000.
It was absolutely panned bycritics but it actually went on
to earn $4.7 million in 1973,which is equivalent to I think
(05:40):
they were saying, about $46, $47million these days.
So it's actually it's reallyamazing and obviously the public
didn't listen to the criticsvery much and I think at that
time it would have been one ofthose movies in 73 that you
could see a lot of couples inthere, from, like you know, 19
to their mid 20s, maybe under 30, having a night out seeing that
(06:02):
movie.
It would have been prettypopular, I think, and I think it
would have been those one ofthose movies that would have
been talked about.
Tried to find some original kindof you know reviews and that,
and every time I typed in, likeyou know, into Google, original
1973 reviews, alvin Purple, wejust give me Alvin Purple
reviews.
So I probably should have dugharder into like Sydney Morning
(06:23):
Herald archives or somethinglike that.
But I can tell you now thecritics hated the movie and a
lot of people just readingthrough some of the IMDB reviews
etc.
They a lot of people don't likethis movie as well.
Yeah, what were your thoughtsinitially?
Matt Fulton (06:39):
Well, in my notes here and I'm going to say this
right up and that is my firstnote is NorgFest 55 seconds into
the movie.
True, so when you set offwithin the first minute of the
film, you, that sets the premisereally.
Yeah, absolutely Just like astarts off as a bit of a fantasy
(07:04):
, like he's mind drifting.
I think he's a well, no, I wasgoing to say a ladies man.
And then the reality.
So when that kicks in, it'sjust like, oh, what are we in
for for this?
It's just in his own world.
Some of it didn't really makesense to me, like I know it's
(07:24):
not meant to make sense.
It's not the best movie scriptor what it or the story like in
the world.
And wasn't this the film thatkind of started the whole
revolution of Australian film inregards to, you know, when the
government decided to investinto the Australian film
(07:46):
industry?
Pete Iacono (07:47):
This was one of the .
I don't think this one got thefunding.
But so the thing about thisfilm is one of the first R-rated
films released.
Once they bought in the Rcertificate in 1970, one of the
first but definitely tookadvantage of that, like so when
you think about it, we had Ithink Tim Burstle's stalk was in
71,.
I think we had Avengers ofBarry Mackenzie in 72, and then
(08:09):
this film in 73.
So I think it was.
It was kind of around that eraand we had a lot of these
sexploitation sort of Australianmovies and we had.
What else did we had?
We had Lobito, which I thinkwas another Tim Burstle film, or
Tim Burstle it was.
I don't know if you've everseen Lobito, I only remember the
ads.
I've never seen it and I don'tthink it's available anywhere.
It's basically just like a fourpart, like you know, four
(08:34):
separate stories, the anthologything, but it's all based around
sex and stuff like that.
Matt Fulton (08:41):
Was that the?
Is that the ABC of?
Pete Iacono (08:43):
No, that's different again.
That's different again.
So that's, that's completelydifferent again.
Abc of love and sex, orwhatever it's called.
Matt Fulton (08:52):
And Australia, and also Australia After Dark.
Pete Iacono (08:55):
Yeah, yeah, so they were.
What's a guy's name that madethose John Lamond?
That's who it was.
Matt Fulton (09:04):
John Lamond.
Pete Iacono (09:05):
that's it, yeah yeah, yeah, he did.
He did quite a few of theseLike he did this one.
He did Australia After Dark.
Felicity was one of his.
He did Nightmares, which we didpreviously, and Nightmares is
kind of like a Jialo AustralianJialo movie with lots of sex and
nudity.
So, yeah, so there wasdefinitely, it was definitely a
(09:30):
time for this.
And then, I think, another onethey talk about, I don't know,
on the DVD, on the Alvin DVDthere's like a 43 minute or 45
minute promotional documentarycalled Inside Alvin Purple,
which, incidentally, wasdirected by Brian Trenshard
Smith, and they were saying thatit was kind of like they were
talking.
When they were talking aboutthis movie, though, they were
(09:51):
inspired by things like libidobut also things like there was
this movie called BedroomMizzurka, which was massive in
the 70s, early 70s, which was aforeign sex film, and it had the
same sort of thing.
It was like three or fourdifferent stories, like an
anthology thing, and that waskind of a big thing as well and
(10:12):
they kind of, you know, sort ofwent off the back of that.
So I think in the early 70s,going back to what you were
saying, I think we're in thiswhole period of not just the R
certificate we were about to gointo the whole.
You know government grants forfilms, things like that.
But we also had this kind oflike this sexual awakening in
Australia.
(10:32):
I think the subject became lesstaboo and ended up on the
screen a lot more.
And none of these movies arereally.
You definitely wouldn'tconsider them porn, and you're
probably.
They're probably not even.
You wouldn't even really thinkthey're soft-core porn.
Right, and it's not.
It's not case of the smilingstiffs kind of stuff you know
and it's, yeah, it is gratuitous, no doubt.
(10:55):
Yeah, absolutely.
Matt Fulton (10:56):
But yeah, it is that borderline of it's
soft-core porn.
But then as soon as they addlike a little comedic reference
or something, that a song thatkind of resembles Benny Hill,
and it's like, oh no, it's not asoft-core porn, it's a comedy,
and I feel like that that kindof breaks the scene when you
(11:19):
just hear this.
Pete Iacono (11:23):
I think Tim Burstle said in this little documentary
that, or in one of theinterviews there's also some
interviews on the disc as welland I think he was saying that
he tried to put some sort ofhumour about every minute or so
into the movie just to remindpeople that it's a comedy.
So I think he kind of thought,okay, if we just have all the
sex stuff and not many laughs,people are just going to think
(11:45):
it's a sex movie.
That, or if I put in like boingtype Especially in the second
movie which we'll get whenthey're getting that chase on
the ferry, which is reallystrange sound effects.
It's a funny movie, likethere's a few things right.
Like the movie is apparently,if you listen to Tim Burstle, a
(12:07):
kind of like a play on the wholeearly seventies sex therapy
thing which was apparently a bigdeal.
I don't remember, I was only 11.
He sort of said well, are sexclinics a new form of sex
therapy or are they just an oldbusiness of prostitution, like
the old reasons of prostitution?
And that I think that comes outin the movie right when you've
(12:28):
got this psychiatrist guy who iseffectively making stag movies
using Alvin Circle yeah, andit's like okay, so are you being
a pornographer or are you justbeing an absolute sleazebag?
I think the other thing aboutthis movie that's interesting is
(12:49):
like it's almost like AlvinPurple is abused in a way, if
you look at it with a modernlens.
He's being abused like sexuallyabused by some women, like his
teacher's wife sexually abuseshim.
He's always been chased bywomen and it's really
interesting.
He kind of has this thing whereif you take the movie, I know
(13:12):
it's only a comedy and I knowit's just a junkie comedy, but
if you kind of put a kind of aserious edge on the movie it's
only when he starts talking orhaving a relationship with I've
forgotten the character's name,but the one he ends up with near
the end, tina, that's it whenshe is more about personality
and more about real lifeconnection rather than just a
(13:34):
sexual connection.
He obviously kind of can't helphimself with all the other
stuff coming on around him.
Matt Fulton (13:39):
No, it is.
He reeks of.
Well, his libido is just oozesand Alvin's just completely.
He is aware but unaware, likeit doesn't affect him, he just
thinks that's part of everydaylife.
And then when he's beingapproached by the sexual desires
(14:02):
really, and they do exploit himin a way or sexploit him.
Pete Iacono (14:09):
He's definitely exploited, and I'm probably not
in a position to talk about this.
It's a very fine line.
I'm not sure, though, thatwhether this movie is also a
reflection of the women'sliberation movement of the time
as well, where women are moreempowered, seem more empowered.
So in this movie they seemquite empowered and they're kind
(14:31):
of almost the what's the word?
I don't want to say stalkers,that's the wrong word, but
they're kind of like they're theones that are actually making
the moves on him, rather thanthe other way around.
Matt Fulton (14:45):
It's interesting to kind of look at it, If the
tables were turned and it's likethis is what women have to deal
with on a day to day basis.
Pete Iacono (14:55):
Yes, probably it's a bit like that.
Maybe it's a bit of a take onthat as well.
I'm getting ready for all thehate mail I'm going to get from
women that listen to this time.
Let me just start by saying I'mnot qualified to talk about a
lot of this stuff, so it's justoff the top of my head, and if
you don't agree, let me know.
I'm happy to have theconversation.
(15:17):
There's something about thismovie somewhere.
I think it actually has alittle bit more depth than it
kind of appears to have, and Ithink when you look at it that
way, it's quite an interestingfilm.
Matt Fulton (15:30):
As the movie goes on, there are moments where it
starts feeling a bit wherethey're going with this and not
trying to ruin or spoil anything.
It gets really dramatic dark.
Yeah, like it gets really heavytowards the main part, like, oh
yeah, fair enough, it goes fromthat big laughing, laughing ha,
(15:52):
ha, and next thing you know, oh, we shouldn't be laughing at
that.
Pete Iacono (15:54):
Yeah, but anyway it's a funny movie.
I mean I like the way early onin the movie he's trying all
these different jobs, trying toget a job.
Matt Fulton (16:04):
It seems to continue on in the second movie
a bit as well and the one wherehe's the waterbed salesman is
pretty hilarious, yeah, and Ijust like the opening credits
where you got the bed mattressbouncing up and down and you
know, the first thing that Ithought of was there is zero
(16:26):
lumbar support.
I'm going wow, where's themirror coil in that?
Pete Iacono (16:32):
Yeah, it's really.
It's quite funny watching himall slosh around in the scene
where he's got the cowboy bootsor whatever it is and he pierces
and he spurs and he pierces thewaterbed.
I said to me, we're watching.
I was like hang on, there'smore water there than would have
been contained in that waterbedas well.
Matt Fulton (16:50):
I think that might have been, for a bit of a fact,
a comedic effect.
Pete Iacono (16:54):
I think so.
Yeah, the car chases are good.
It's got some interesting carchases.
Like you said, it's very BennyHill.
I was like, is it the maze Ifthey played Yackity Sax in this?
It would be, and just sped itup a little bit.
Matt Fulton (17:09):
Yeah, that's all it needs, and they've already
applied the wacky sound effectswith some parts as well, but
it's just pure sex slapstick.
Pete Iacono (17:18):
The other thing that was interesting to me is
like I was looking at how themovie progressed right and I had
this thought we get to thescene where so Alvin Purple gets
basically used by hispsychologist to make blue movies
and then they get caught out bythis other psychologist he was
originally seeing who eventuallywanted to sleep with him she
(17:39):
looked like she was fairlystraight laced and he kind of
refuses her advances and thenshe decides to basically
blackmail him because she knows,she knows what's going on, and
they end up in this court scene.
And the court scene is quitefunny and we go through this
whole piece and when he comesout of court, when he's on the
(18:00):
shoulders of these peoplebecause they've won the court
case, et cetera, et cetera, Iwas like, oh okay, the movie's
going to end and then we've gotanother 20 minutes to go and I
thought it was.
It felt really strange having,like the I guess I'd call it the
husband chase tagged onto theend where all the husbands get
together and chase him.
I was like I think this wouldhave been better in the film
(18:22):
itself and the end of the filmwould have been him being
chaired out of court winning.
Matt Fulton (18:27):
I mean that would have been a logical and the
escapades they get up to.
Afterwards it's like thatthey've gone.
Oh, we didn't spend all ourbudget, how do we?
How do we get rid of it, or howdo we burn the cash off?
Pete Iacono (18:41):
And then next thing you know is they do what they
do, that whole piece with thechase and him being chased
through Melbourne streets halfnaked or naked, and then the sky
.
All that was after theskydiving, the skydiving bit and
all this sort of stuff and theskydiving bit when he was coming
down on the parachute.
I swear there was somebody thatthe sound effect was somebody
(19:03):
in a microphone going yeah, well, I blew that budget nuts scene,
didn't they?
So they have that whole sceneand they could have quite easily
have moved that whole piecesomewhere else in the movie and
then ended with the with thecourt scene.
I don't know why they did that.
(19:24):
Unfortunately, Tim Bursell isnot here anymore.
Matt Fulton (19:26):
I'd love to know Another thing.
It could be when they wereputting it all together and then
they realized there was still acertain like short from
completed film, because it mighthave come in at the the just an
hour long.
Pete Iacono (19:40):
Yeah, maybe, but still, even when you film that
part, doesn't someone like yougo out and film all that?
Doesn't someone look at it andgo?
It's not really a logicalending.
I can't remember what was theending.
Again, how did it end?
He got so he gets chased, hehas the, he lands in the Yarra
River, which must have beenlovely for his health.
And then, oh my God, I kind ofremember what happens at the end
(20:02):
.
Oh, he ends up, he does.
He go off with Tina.
Matt Fulton (20:06):
He ends up finding Tina, who ends up had a sister.
Pete Iacono (20:09):
Oh, my God, yes.
Matt Fulton (20:11):
He ends up getting a job there.
Pete Iacono (20:13):
And we're implying that the, the nuns or whoever
they are, are going to feast onhim as well.
Matt Fulton (20:21):
Right.
Well, I've got the impressionthat, because he ended up, he
ended up getting what he wantedto have at the start and that
was a job, and he ends up beinga groundskeeper or the the lands
of the nunnery and the convent.
And so it's all about celibacy.
(20:42):
So, it's because Tina wasn'tattracted to Alvin in that way.
Pete Iacono (20:50):
Yeah.
Matt Fulton (20:51):
Because she resisted Alvin's sexual I guess
aura.
So that's why he's going.
No, I think that this place isgood for me, like the job,
because he can build everything,but then again I never thought
about the other way.
Pete Iacono (21:06):
Well, my mind's in the gutter straight away, and
yeah.
Matt Fulton (21:11):
So here I am thinking, oh, he's found some
peace.
Pete Iacono (21:13):
Yeah, well, he maybe has maybe that.
I'm sure that was probably theidea that you know.
I looked at it and I was like,oh, is this really the right
place for him to be?
Both are plausible.
Yeah, both are plausible.
Yeah, in a way, it's kind ofit's not a bad ending.
To be truthful, I just thoughtthe coming out of court thing
was maybe I was to.
Maybe the coming out of courtthing on the shoulders of people
(21:34):
is to cliche to end on, becausethat's happened in thousands of
movies, right.
Matt Fulton (21:38):
Yeah, exactly, it'll be that victory thing.
Oh yeah, fair enough, becauseit wasn't quite a dramatic
moment in the court, andespecially when they're playing
the clips back in the game, wow,like I actually felt very
awkward.
Sorry, the clips as in theevidence and gone.
Yeah, this is pretty rough.
He had the judge played byNorfaria.
(21:59):
Yeah, he was good as a freebetween the lines, sleazy judge
he was.
Pete Iacono (22:06):
And yeah, I think it was those scenes.
I actually think when I wasshowing the stag me I call them
stag musics I'm sure they weretalking about they would be
renting them out for $100 or$200 a time.
You could see them being playedat the stag parties and if you
don't know what a stag party is,it's kind of just like a men's
party somewhere with lots ofbooze and you know those sort of
(22:28):
movies or it like a bucks night, that sort of thing.
You know, when I was watchingthat I was kind of like I
actually did feel really sorryfor for the Alvin Pergola
character.
I was like, yeah, he's reallybeen exploited and used in a way
that he wasn't expecting to.
Matt Fulton (22:48):
Well, that's why he went when the evidence came out
and he's going oh what They'llfeel like he was completely
unaware and he was concernedover the feelings that Tina was
having, and also the doctor, thepsychiatrist, the I can't
remember a name either.
My apologies, but yeah.
So it was like trying tobalance it out and just previous
(23:12):
innocence, like he did thisstuff but he was under the
ruling of the perverted doctor.
Pete Iacono (23:20):
The other thing that's interesting about this
film is when they cast the moviethere was a lot of pressure to
cast somebody like I think theytalked about Jack Thompson quite
a bit for the lead in this film, and Tim Burstle apparently
pushed back quite hard on thewhole thing.
He was like, well, if we havesomebody like Jack Thompson or a
Jack Thompson kind of guy inthis movie, men are going to
(23:43):
hate him because he's just likeyou know, over the top, you know
masculine, et cetera.
So that's why he was alwayspushing to get a really average
looking guy and Graham Blundellwas that guy, I guess.
Matt Fulton (23:56):
Yeah, well, because Jack Thompson was of the time,
the Gary sweet.
Pete Iacono (24:03):
He was.
He was in Peterson, wasn't hearound that same time?
Matt Fulton (24:06):
Yeah, and so Peterson came out a year later.
So maybe when Alan Purple wasbeing made he was prepping Jack
Thompson to be Peterson, becauseit's by the same director.
Pete Iacono (24:19):
Jack Thompson was also a Cleo pin-up, I think.
Matt Fulton (24:22):
Yes, I believe so Was any one of the first ones.
Pete Iacono (24:25):
I think so.
One of the first ones.
Yeah, like a yeah, a nakedpin-up for Cleo magazine or
something.
Yeah, the music was good.
I mean I love the Alvin Purpletheme, my little bit about Brian
Cadd.
I always like talking aboutmusic where I can on these
podcasts, maybe because I justlike music and yeah, you got a
rich history of music.
I do, and that's always good.
(24:45):
Brian Cadd was basically apretty significant figure in the
Australian music industry forwell over 50 years now.
He's a singer-songwriter,producer, plays keyboard, record
label founder.
So he founded Bootleg Records,I think they were called.
He was involved in bands likethe Group and Axiom and the
(25:06):
Bootleg Family Band and then hewent solo in 72, all that sort
of stuff.
He even did a stint with theFlying Burrito Brothers in the
US.
So he's quite well knownProbably best known in Australia
for songs like Ginger man, letit Go, show Me the Way, and then
of course Alvin Purple.
(25:27):
And then I guess a lot of olderAustralians like myself remember
his song for the TV seriesClass of 74, which was a big
deal in the 70s.
And then I also noticed when Iwas having a look at his profile
that he actually only just likeas in like two or three weeks
ago released a new single calledyou Know what to Say and had a
(25:49):
listen to it.
It's pretty good as well.
So he's kind of like a rocky,bluesy kind of guy.
Now I think he goes moretowards country sort of stuff.
I saw him, oh, last time.
I saw him doing it live.
I'm sure it was back in about2013, 2012.
I was with my late wife.
We were at a country musicfestival because she was loved
(26:09):
country music up in the Hunterand I'm pretty sure he was
playing like a duo thing withRussell Morris at the time and
it was quite.
They were on very early in theday, it was quite good, so he's
kind of like been around for along time.
I listened to him a bityesterday, pretty good.
Do you know much about him, orhave you been exposed to him
(26:29):
very much?
I know you're a bit younger.
Matt Fulton (26:32):
Well, I did work at .
One of my previous jobs wasworking at a classic KS radio
station.
Pete Iacono (26:38):
Oh, you would have known for sure.
Matt Fulton (26:41):
His appearances on Rock Quiz and Spicks and Specs
and also still tours a lot.
So yeah, it is that wholegeneration of my generation, I
should say, that are kind oftapping into the previous
generations and Brian Caddy ispart of that music generation.
(27:05):
Yeah, no, he's doing the roundstill, he still is, and that's
great.
Pete Iacono (27:10):
I love it.
Like he must be.
Well, he was born in 1946.
What does that make him?
Oh, my maths is terrible.
Matt Fulton (27:18):
Quite young.
Pete Iacono (27:19):
Quite young.
Well, he's 20, almost 20 years70, 78.
Matt Fulton (27:25):
Yeah, He'll be 78.
Pete Iacono (27:28):
But you know nothing like a good old music at
still doing it, which is great.
Plenty of us still out theredoing stuff, so it's great.
Of course he's as young, Ireckon keeps you young playing
music as you get older.
Matt Fulton (27:42):
Especially when you switch from beer to soda water.
Definitely that's that stagewhere you start.
Better, start looking aftermyself a little bit.
Pete Iacono (27:52):
And you go from marijuana to multivitamins.
Matt Fulton (27:57):
Yeah.
Pete Iacono (27:58):
Yeah, definitely changes anyway.
So, yeah, so this movie, Idon't know.
In closing, I just think thismovie is a bit of fun.
It's certainly not earthshattering, but it is kind of
like if you go a dig a bitdeeper into it, it actually has,
says some interesting thingsand on the surface it's just sex
(28:19):
exploitation comedy, which isprobably the best way to take it
.
There's a bit of meat there.
Sounds like a double on tonda,If you want.
If you want to have a look, asthere's a bit there.
So was it good for you?
Matt Fulton (28:33):
Yeah, like I was, leave the brain at the door, I
cracked it.
How did?
I had a beer while watchingthis and, yeah, I, since we last
spoke, I've now sinceregistered with letterboxed and
I gave it three stars.
Pete Iacono (28:52):
Okay, I think I gave it.
Yeah, I think I gave it aboutthe same.
Matt Fulton (28:54):
Yeah, and I called it a pure shameless Osploitation
.
Nog fest.
Pete Iacono (28:59):
There you go.
That's beautifully.
Yeah it's all about the boozebaby you did see.
There's like one scene in themovie, I think, where you get to
see his old fella for like asplit second, I think.
I don't remember seeing it alot.
Matt Fulton (29:18):
It was there, I think he was wrestling with
Chris McQuade in the waterbed,the.
I don't know how to wait, butChris, she was the artist, the
painting artist, but also thedominatrix, I think, or maybe it
was her.
Pete Iacono (29:32):
Yeah, it was one of them and I think that's the
only time that I remember seeingit in the movie in any in any
sort of thing.
There's a few, there's a bit offull frontal stuff from the,
from the ladies in the film, butit's nothing gratuitous really
in this movie, it's just a bitof nudity.
Matt Fulton (29:50):
But then again it's like the first minute or so
when they had Abigail, who atthe time was the draw card to a
lot of TV and film in Australia,Pretty much the Pamela Anderson
of the 70s.
Pete Iacono (30:05):
Oh, she was yeah.
Matt Fulton (30:07):
Yeah, so, and then when you've got her wearing a
revealing top on the tram inpublic, yeah, you knew that
you're in for a or a.
Males of a certain age were infor a bit of a I wouldn't say
treat, but as in, yeah, this iswhat you're going to be in.
Pete Iacono (30:27):
This is what you're going to be in for, like she
was a massive draw card forthese movies.
She was like she was in thismovie, she was in the next movie
.
She shows a bit more in thenext movie than she showed in
this movie.
She's also massive starringnumber 96, right, was this about
the same time as?
Oh, here we go.
He's reaching for his.
Matt Fulton (30:47):
I've got all three volumes of number 96.
Pete Iacono (30:50):
Yeah, oh, wow.
Matt Fulton (30:51):
Yeah, which I know.
These are rare.
See, I'm too young for thestuff that I'm interested in, so
I've missed the generation.
Pete Iacono (31:01):
He missed all that.
I remember seeing that on TV.
I will I think.
What year was number 96?
Was that 70s?
Matt Fulton (31:07):
1974.
Pete Iacono (31:08):
There you go.
Matt Fulton (31:09):
Sorry, no, no, I do apologize.
1972.
Pete Iacono (31:12):
Okay.
So yeah, I'm 10,.
I'm 10 years old, so I'mprobably not allowed to watch it
1972.
Matt Fulton (31:19):
And yeah, it's a yeah, abigail's front and center
up in.
Pete Iacono (31:25):
That was pretty groundbreaking series actually,
wasn't it?
Matt Fulton (31:28):
It was yeah.
Pete Iacono (31:30):
It was everything from homosexuality.
Matt Fulton (31:33):
And then there was um in regards to sexual abuse
and, yeah, just was very, veryrisky yeah it was, wasn't it.
Yeah, yeah, like it broke a lotof taboos.
Pete Iacono (31:43):
It did.
Yeah, it was pretty big.
I just remember the most.
The thing I most remember is,uh, the explosion in the is it
the corner store?
Matt Fulton (31:51):
Well, the, the explosion in the corner store,
yeah, downstairs, where therewas the, the bomb, yeah, which
is in volume three.
Pete Iacono (31:59):
All right.
So that was Alvin purple.
Now we're going to dive intoAlvin Marys, again from 1974,
which is of course the 1974sequel that dives back into the
misadventures of Alvin purple,played again by Graham Blundell.
This time he finds himselfentangled in what even more
(32:19):
absurd situations as heaccidentally becomes involved
with gangsters.
This is really over the top, um, uh, while still being
irresistibly attractive to womeneverywhere.
So he encounters his double inthis film played by himself, and
it leads to some seriousmistaken identities and you know
chaos, right?
Um, we have Alan Finney asSpike, abigail as the seductive
(32:44):
May, noel Ferrier, again asfingers, um, the gangster.
So the movie kind ofcapitalizes on the sex comedy
formula, but it also has, likethe dual role gimmick and I
think makes it a little bit moreof a standard comedy.
Matt Fulton (33:03):
You know what it kind of reminded me of, like it
was lamp hooting, say the JamesBond type baddies, yeah With
fingers, or think of wasgoldfinger.
Pete Iacono (33:13):
And what was the Nelfaria guy called?
Oh, the hatchet, or somethinglike that, yeah, yeah.
Matt Fulton (33:20):
Yeah, so you had those returning actors from the
first film playing completelydifferent characters.
Pete Iacono (33:26):
I was going to say this is my first point what the
heck Anulferia and PennyHackforth Jones doing in this
movie, playing completelydifferent roles in the first
film.
I'm watching this scene wherePenny Hackforth Jones is the
like in the cricket team.
She's in the women's cricketteam.
She's like the dead mother Iguess one of a bit of a term and
(33:48):
he's sitting right next to himLike don't you realize?
You're sitting next to yourpsychiatrist from the first
movie.
You tried to ruin your life.
What's going?
Matt Fulton (33:58):
on.
Pete Iacono (33:58):
I'm like, why did we end up with these people back
in the movie?
And then Anulferia he was thejudge in the first movie and now
he's hatchet in this movie.
Matt Fulton (34:07):
Yeah, well, it's bizarre.
And the fact that Abigail is init by playing a different role,
from tram passenger to theassistant, or the wife or the
shop assistant to at the petrolstation that Maury Fields runs.
The mechanic is the mechanic.
(34:27):
So yeah, so bizarre.
Pete Iacono (34:30):
I didn't quite get it.
I was not confused, but it'slike I just don't understand how
they, what they're reasoning.
There's no on the DVD.
I don't think there was any.
There was a couple ofinterviews, I think, but there
was no.
Like there's no commentary onthese every bear.
But I just I'm not sure why,why they ended up in here.
(34:52):
I'm just thinking, was thereany more that are in here in
this, in this film, that were inthe first film?
There's probably a couple.
Matt Fulton (34:58):
Well, there was actually.
No, I don't think there was,but I just that might have been
people in the background oranything like that.
In fact, I was going to mentiontoo from first movie of Alvin
Purple.
I did notice and I got itconfirmed by committee in Tony
Martin.
Sorry to go back to this, butShane Bourne was in it.
Pete Iacono (35:22):
He was yeah.
Matt Fulton (35:24):
Yeah, when the waterbed sales inside the
shopping centre.
Yeah, so is there having asmoke and smoking.
And I was looking for him inAlvin rides again, just in case,
since people were reoccurringin the thing.
Pete Iacono (35:38):
if he was in it, yeah, but no he wasn't, so OK
yeah.
It's interesting film becausewe had, like we had a cameo from
pre long weekend, breone Behetzplaying a taxi passenger early
in the movie and she was justthere to do the usual Alvin
Purple stuff.
Matt Fulton (35:53):
Yeah, the Nymphomaniac.
Pete Iacono (35:55):
Yeah, exactly yeah.
And then we had in her secondfilm Chantelle Cantori, who was
in the last movie we did on hissnapshot, and then she went on
to do thirst and lots of otherthings as well, and she's name
in this movie is crazy it'sboobs, litchou, shea or
(36:15):
something like that I know right.
Matt Fulton (36:18):
It's such so Austin Powers.
Before it was Austin Powers.
Pete Iacono (36:22):
Well, do you know what?
That's the vibe I got from her.
Matt Fulton (36:25):
Yeah.
I really enjoyed watchingGraham Blundell play two
characters, which was kind offun that was his doing, because
he, I believe that they didn'twant to make a sequel, so this
was kind of forced them by thestudios and I believe that
Graham had actually said that ifyou're going to do it, you need
(36:47):
to do this and give me somemore range just to show that I
can do it.
And that's why he ended updoing those two roles.
Pete Iacono (36:54):
Some parts of it.
There's a bit of a Weekend ofBernie's vibe.
Yes.
Matt Fulton (37:01):
I do have that in my notes too.
The magician's scene won't go.
Yeah, that is very Weekend ofBernie's, and in the hotel room,
yeah.
Pete Iacono (37:08):
So it's basically the story is he kind of meets up
.
For some reason he and hisfriend forgotten his name, spike
decide to head north.
I thought they're heading toQueensland, but then I just
assume everyone's in New SouthWales, within Victoria.
So they're heading to New SouthWales and they decide to go on
(37:28):
the road.
They take off in this reallycrappy little car which breaks
down, and then that's where wefind see Abigail for the first
time and he has dalliance withher while his car is being fixed
at the back, and they end up atthis casino.
I don't know where this casinois.
It's just like some casino inthe middle of nowhere.
Matt Fulton (37:50):
Oh, my monobene in Canberra casino, maybe all the
game halfway yeah.
Pete Iacono (37:54):
And they end up with this character from the US
who's scoping out.
He's named Balsmagi AnotherAlvin Purple kind of name for it
.
Matt Fulton (38:06):
Yeah, with the exact same going in and out of
Australia and America, and theonly thing difference was like
wearing the suit suit andthere's scarring on his face and
something to kind of representhow gangster he was, how
gangster, he is.
Yeah, with his flu is easier.
Pete Iacono (38:25):
And Gus McCurrier is in this as well.
He was like he's off-sider,balsmagi is off-sider.
It's quite funny.
Yeah, there's a little bit ofthe usual sort of slapstick
stuff in here.
There's the whole scene wherethe casino detective, or
whatever they call him, thecasino police officer, the house
detective played by FrankWilson.
Matt Fulton (38:46):
Yeah, he is just like he could read between the
lines, and that's when it goesall weak in that Bernie style.
Pete Iacono (38:58):
It's so gross with.
He wants to see them togetherand they've got Balsmagi's body
in the bath with one of hisgirls and she actually kisses
him.
I mean, obviously he's alive inthe real thing, but we're
supposed to know that he's deadand it's like oh, yeah, goodness
, yeah, that's all quite.
Matt Fulton (39:18):
And he's like, oh hello.
Pete Iacono (39:20):
Yeah, exactly.
Matt Fulton (39:21):
Yeah.
Pete Iacono (39:21):
So yeah, it's quite funny.
There's that that's very much aweekend at Bernie's thing, and
then you mentioned the magicianas well.
That's a funny scene actually.
Matt Fulton (39:30):
Yeah, can I mention that towards the opening
credits of the film?
I've noticed that when they hadwhen it came up with Frank
Thuring who plays Fingers, butit says courtesy of the
Melbourne Theatre Company, Inoticed that as well.
Yeah, wow, such prestige.
Pete Iacono (39:51):
Yeah, and then, of course and another point I need
to make, where I guess thingsare a bit different in those
days is a.
Ross Bover plays this dwarf inthe movie.
Matt Fulton (40:03):
Oh, yeah, he's not.
He's not playing and we're onlygoing by what it's been labeled
.
In the movie of its time Hischaracter was in the.
In the looked up in the credits, he was called the dwarf.
Pete Iacono (40:17):
Yeah, he was.
Matt Fulton (40:18):
Sorry, we're not labelling in that.
Pete Iacono (40:22):
That is what he was called.
Matt Fulton (40:23):
Yeah, that's what he was called.
Pete Iacono (40:25):
Seeing this as a movie of its time.
There are short people jokes,mostly from Frank Thuring, and
once again, these days youwouldn't do it right.
But but the 70s, it was just athing.
I think he's pretty funny,though Am I wrong to say that?
I think he's really funny theway, especially when.
Matt Fulton (40:46):
I manipulate his voice.
Yeah Well, that's manipulated,like.
I'm pretty sure it's dubbed, orthey got his voice and then
they sped it up.
Pete Iacono (40:54):
He's got some funny scenes, like when he's you know
, when they double crosses FrankThuring in the in the safe and
he's in the safe at the end.
Matt Fulton (41:02):
And that was totally random.
I was oh, you got me.
Pete Iacono (41:10):
Then we get the little.
You get the tag at the endwhere he's flying the plane that
they're flying off in as well.
Matt Fulton (41:15):
Oh yeah, it's so weird.
Pete Iacono (41:18):
It is a weird movie .
Matt Fulton (41:19):
When Alvin decided to escape up north there was the
moment where it caused Alvin.
The whole premise with Alvinrides again is that he's looking
for a new job, so apparentlythe one at the groundskeeper.
He kind of went through that.
But when he gets the windowwasher, roll at the two story
home and falls off after Lady isjust studying their starkers
(41:43):
but it's the new job as theoffice cleaner and the office
lady seduces him, I just couldnot stop looking at the office
Boston next day when he walks inthe mutton chops on his face.
Oh my God.
Pete Iacono (41:54):
Yes, and the comb over yes.
Yeah, I was like.
Matt Fulton (41:59):
I just could not.
I felt like I was nearly yelledat TV game Come your face or
shave it.
It was just.
I've never seen so much muttonchop on his face.
Pete Iacono (42:10):
I know he walks in.
I said to me he said look atthe chops on this guy.
And then, and then I'm like, ohmy God, he's got a really bad
comb over as well and I'm like Ican't remember the last time.
It must be so out of fashionthese days, thankfully, like
combovers must be totally out offashion these days.
It's like Florida.
Matt Fulton (42:29):
to kind of date it.
It's like you know a wholething at the time of this
recording when Godfrey's hadgone into voluntary, the
administration thing.
And then you got the Mr Hardywho was the sales rep for
Godfrey's with the comb over,looked him up and he's still got
his 80 and he's still got thecomb over, oh God.
Only because we're talkingabout combovers.
Pete Iacono (42:51):
Yeah, no, that's all right.
Well, it's obviously from adifferent generation, right?
And I'm getting a bit bald atthe back and I'm like I'm just
going to let it go.
Yeah.
Matt Fulton (43:01):
I'm in my early 40s and I've just I've lost it all.
Pete Iacono (43:04):
So yeah, I'm like this.
I think eventually I'll end upshaving it all off, but you know
, it's all grown back sinceMakiima, which is kind of nice,
but not not all of it, but yeahit's.
It was an interesting film,like well, one of the things was
only rated M at the movies aswell.
Well they, which was quitecontroversial.
Matt Fulton (43:23):
Well, I think it was because they wanted to
appeal to a younger audience.
So, while Alvin Purple was like, it made its motto for an R
rated film, which is prettyimpressive, but I think when
they tried to make the sequel tothe studios, again we want to
be like.
Alvin Purple obviously wouldhave been following in.
(43:44):
A whole bunch of younger kidswere wanting to watch it, but
they couldn't.
So they got all right, there'san audience there, let's tap
into that, and that's why theywent that way.
But it just felt like the moviewas being made up as it went.
Pete Iacono (43:58):
Yeah, it was.
So it was had a $300,000, Ithink $300,000 budget.
It only made about $1.8 millionat the box office.
So, it, regards the other one,didn't even do half of what the
other one did and you know, itjust didn't perform as well.
I think there's a quote hereI'm reading from John Lamond,
(44:20):
who actually worked on thefilm's release, saying he
thought the filmmakers made amistake making it less sexy
because they didn't want to loseany potential audience.
So the second one wasn't ratedR and it flopped, fell on its
ass after the first month.
Matt Fulton (44:34):
He said Well, if they do want to lose any of the
potential audience, they shouldhave just kept it as an R rating
.
Pete Iacono (44:38):
Yeah, exactly Because I think half the
attraction of an R rating is thefact that it's R right.
And you know you've got theusual problem with kids trying
to get in, trying to sneak inand stuff like that, which is a
whole part of the fun.
We all did it and you know it's.
Yeah, it probably would havedone just as well.
Matt Fulton (44:58):
That's the thrill of the chase of sneaking to a
movie which you don't have, thatthese days anymore.
Pete Iacono (45:06):
I was reading yesterday, when they first
proposed the R rating inAustralia in 71 or 70 or
whatever it was, that there wasa heap of pushback from the
cinemas themselves because theydidn't want to be the ones that
would have to enforce it.
Yeah, in regards to having togo through all the trouble of
making sure that they werechecking ages and all this sort
(45:28):
of stuff.
Matt Fulton (45:29):
Because they'd lose revenue.
Pete Iacono (45:30):
Oh, that's exactly right.
Yeah, hey, what did you thinkof the cricket scene?
So?
Matt Fulton (45:36):
random.
Yeah, this is where it feelslike they're just making it up.
Yeah, bringing the group towrite in the women into the
movie to have a sexual escapade.
But the fact that the team waslosing.
And then so Alvin and Spikedressed up in drag to do their
(45:57):
thing, to play as the women andstart winning the game.
And also the Very dated sludgesfrom all the hecklers yeah,
terry Gill playing one of them,especially when the players are
slapping the women on the butt.
Pete Iacono (46:15):
So yeah, it was like very uncomfortable.
Yeah, I thought that as well.
It was a bit uncomfortable andI thought for a minute.
I thought, oh, all the girlsare going to come out and
they're going to surprise themby being good at cricket, right,
they obviously weren't, but itwas a little bit mean spirited
actually and I'm like, why woulda women's cricket team play a
(46:36):
men's cricket team?
And for starters, because mythinking was okay, one of these
women is going to hit the ballout, you know, towards that
group of men on the sideline,heckling, and hit one of them in
the nuts, or something likethat.
That sort of thing will happen,right.
And the fact that that Alvinand his mate is it Spike Is his
(46:57):
name, spike Spike had to kind ofdress up in drag to kind of
save them because they put a beton them.
It was a bit rough, it was abit demeaning, but that was the
70s.
Matt Fulton (47:08):
Yeah, and I love the fact that the oh sorry, I
shouldn't say that I don't lovethe fact that I found it amusing
that the male cricket team werefrom Buffington RSL.
Pete Iacono (47:20):
Yeah, we noticed that as well.
It's like oh, okay.
Matt Fulton (47:24):
Oh, actually did you notice, though, when they,
when Spike and Alvin were in thehotel and Alvin was, you know,
getting it on with one player ata time, and then it's like
Spike's like send some my way,and all the different door
knocks that would just turn upwhere, especially with a cleaner
(47:46):
and ladies of all differentages and sizes, especially with
Esme Melville as well, the olderlady, and then John Michael
Halzen as the bellboy.
So there's your cameo from JohnMichael Halzen.
It's outrageous.
Pete Iacono (48:05):
Yeah, that was a bit rough too, like I was like
oh okay, so we're sending himthrough.
No fault of Alvin's, apparently, but just the way the film's
written.
They're sending him like thegay guy, the old lady and the
overweight woman.
Once again, doubt you'd see ittoday, but you know it's, it's
of its time, right.
(48:25):
The other thing that's reallyinteresting in this movie is
right at the very end, is like alittle bit of gore, right at
the very end with hatchet.
Matt Fulton (48:34):
Oh yeah, that did.
Starts movie ends up being likea bit of a action thriller type
thing on a on Sydney Harbor.
Yeah, because it's so weird.
It's like that they gave up onthe boobs all.
They ran out of money for thebudget.
It's like we've seen everyone'sboobs and so let's make boobs
of ourselves and just run amarket.
(48:57):
It's like they got a creativelicense to hey, we can film in
circular key.
What the hell do we do?
Pete Iacono (49:05):
Yeah, let's get on a ferry.
Matt Fulton (49:06):
Wow, it was just so weird.
But then again I'm allspeechless during that movie.
So I'm going.
Am I watching a really budgetedJames Bond movie now?
Pete Iacono (49:17):
Yeah, it was quite funny like that it's.
But like I said, I think it'sless, even though there was
still the sex stuff in there.
It was less of a sex romper,more of a classic sort of comedy
kind of thing, you know, butthey still, because it was an
Alvin purple movie like ifyou've made this with some other
character, they could have cutout all the sex stuff, added
(49:39):
some extra scenes.
It just would have been acomedy.
Matt Fulton (49:41):
Yeah Well, when Alvin Spike and boobs, the
character not on, just sayingboobs.
Let's just yes, when theyescape.
And then Alvin and boobs aretaken, romantic stroll then
suddenly ends up with balls asfuneral Right.
(50:01):
And then next thing, you knowthe hearse with the machine gun
and then they give chase andgoing well, where is this going?
It just suddenly ends up beinglike a full on car chase.
Pete Iacono (50:15):
It was so weird.
I was like what the fuck isgoing on, and the guy who was
chasing him in the car hardlyunderstood the word he said when
.
Anyway, when he was talking tothem, there's no subtitles on
the DVDs, so you couldn't reallyget into it that way.
He had this car that had likemachine gun at the front and
then these two rocket launchesand, like you said, it's almost
(50:37):
like a James Bond film.
Matt Fulton (50:39):
Yeah, just shooting anything and everything with
one eye patch, and so his deathperception is completely off.
No wonder why he was missinghim.
Pete Iacono (50:48):
That's right and killed a guy in a crane which
ends up killing him.
He kills.
I don't know if he kills him.
There was that rental truckthat he blew up when he shot it
and it's like OK, this isinteresting.
This isn't Alvin Pervill, butanyway.
Matt Fulton (51:06):
So if you're after nakedness and sex scenes, pretty
much the last one that you seeis just before the big shoot
them up.
Pete Iacono (51:16):
Yeah, because he's in with Boobs Latouche I love
saying that name.
Matt Fulton (51:20):
Yeah, the Boobs Latouche.
Pete Iacono (51:23):
Boobs Latouche is a tush because the way it's
written it's T O U C H E, whichI thought was too shady.
Matt Fulton (51:29):
Yeah, it's written like that, but they pronounce it
as Boobs Latouche.
Pete Iacono (51:32):
Boobs Latouche.
Yeah, and it is.
It's very Austin Powers.
Yeah, a lot of vagina.
Matt Fulton (51:40):
Yeah, it's just yeah, it's just so weird.
And then when those actionscenes are happening, I'm
thinking it's like CassinaRoyale and the David Nevin
version and Peter Sellers andwith that going on and then when
they end up on the ferry, inthe end escaping to the airport
(52:03):
and flying the Sydney, whichmagically they just end up at
circular key, and the fact thatBoobs ends up killing all the
baddies with you know, withwhatever, and then they're all
going.
Oh well done, you have learned.
It's like why did?
(52:24):
Why did Demean you?
You have, I see, you havelearned.
You know you're Judo well type.
Oh my God.
Pete Iacono (52:33):
Yeah, it's so strange Like she.
She shoots the first guy and hesays something like I wasn't
expecting that or something likethat, or whatever it was.
Well done.
Well, she stabs the second guyand he says a few things the
same way, and then she puts ahatchet in Null Ferry's head,
(52:55):
which is like where I said thegore comes.
That's like that's pre-Fridaythe 13th even.
Matt Fulton (53:00):
Yeah.
Pete Iacono (53:01):
So you know it's groundbreaking right.
Matt Fulton (53:04):
And it does like a Shakespeare-esque type of line
at the end.
I love the the special effectswith it, where it's literally
red paint, because that blood isjust way too thick and bright.
Pete Iacono (53:19):
Yeah, it's.
Yeah it's very red, but yeah,so it's.
It's an interesting movie.
We get another.
We get another little bit fromBrian Cadd.
In this movie he sings.
There's a like just before thescene with the magician.
There's a scene with his band Ithink it's a bootleg family
band at the time doing his gigand I was like geez, they
(53:40):
cleared that stage so quickbecause they finished playing it
and the magician's on stageright where the drummer was set
up.
Matt Fulton (53:46):
But that's the you know, because you're you're
playing the odd band and it'slike you click your fingers.
Pete Iacono (53:55):
Just click your fingers, it's all gone.
That's it.
It's very quick and that stageis so small.
That poor drummer and he was, Ithink he's a real drummer.
He was kind of overplaying hissort of hand movements.
He was probably told by thedirector to make it look more
like he was doing something.
But it was quite funny.
(54:16):
But you know it was, it was agood movie.
It was funny and I don't know Iwas kind of thinking out of the
two movies did you have apreference for one over the
other?
Matt Fulton (54:26):
Yeah, well, I would say that with Alvin Rise again
and I put this on my letterboxas well I gave it one and a half
Like I tried my absolute best.
I only pushed through itbecause we had to.
I had to review it for thepodcast and I my comment for it
was Jesus, this sequel made nosense and I'm I'm really open to
(54:52):
accepting that.
It's like with Barry Mackenzie,all design type where it goes
into like a whole vampire typething.
I'm always open for acompletely different direction
or anything like this.
But I really struggled withAlvin Rise again.
Pete Iacono (55:08):
I kind of didn't mind it.
I was.
When I first finished watchingit I was like, did I actually
enjoy that?
And then I was like, when I wasreflecting on, I was like I
enjoyed it, but I enjoyed itlike I would enjoy, I don't know
, a piece of chocolate.
Matt Fulton (55:24):
And then it's gone and you forget all about it.
Whereas.
Pete Iacono (55:29):
Alvin Purple's probably a little bit more.
God can you even say AlvinPurple's thought provoking.
I guess it is in a way.
I know it sounds like I'mbuilding these two up too much,
but the main reason and I'lltell you the truth, the other
reason we decided to do both ofthese was because I'm like I
can't fill up an hour talkingabout Alvin Purple.
Matt Fulton (55:51):
I don't blame you.
Pete Iacono (55:53):
All right.
So, matt, let me know wherepeople can find you and let
listeners know where people canfind you, what you're up to and
all your socials, if you want.
Matt Fulton (56:03):
Sure, well, my stuff is my Geek Culture, the
Australian type pop culturewebsite.
So if you look upMyGeekCulturecomau and also it's
available on YouTube.
So I've got some stuff whichI'm filming and I've got another
(56:24):
podcast coming up based on that, which is not boring.
It has elements of this podcastin it, so it's like an extended
universe, I should say.
So it's something which you maybe interested in as well.
Pete Iacono (56:37):
Not like a multiverse.
Matt Fulton (56:38):
Yeah, multiverse, yeah, an Aussieverse.
Pete Iacono (56:41):
An Aussieverse.
There you go, there's a new one.
It's a exploityverse.
Matt Fulton (56:46):
So that's coming soon and, as well as I do the
Champagne Comedy podcast, whichis myself and my co-hosts,
review the catalogue of theWorking Dog Comedy team.
Yeah, and look at that up onany podcast platform Champagne
(57:06):
Comedy podcast.
And yeah, I'm just floatingaround on socials as well.
I'm very active on Twitter atMattFoltoncomau and my website
is mattfoltoncomau.
Pete Iacono (57:23):
Excellent, excellent.
So you're one of the peoplelike me still calls it Twitter?
Yeah, I'm pretty much the callit, but I'm also on Blue Sky.
Matt Fulton (57:35):
Yeah, I'm on Letterbox as well.
So ever since you mentionedthat, I want you to better make
the effort, so I'm on Letterboxis so good.
Mattfoltoncomau on Letterbox.
Goodness gracious, what are thesocials?
Instagram, Mastodon Threads.
Pete Iacono (57:49):
Excellent, all right.
Well, thank you so much forcoming on.
It's always a pleasure havingyou on and having a good chat
with you about all these weirdAustralian films, and these two
were definitely definitely that.
When we come back, we'll talkabout what's coming up next.
And now preview time.
When it comes to entertainment,you can't beat a good film, so
(58:19):
let's take a look at what'scoming your way.
The following is based on trueevents.
Can you interpret dreams?
Sometimes, how do you feel whenyou wake up from these dreams?
They scare me a bit For AlicePalmer.
(58:45):
Underneath the hopes of abright future were suspicions.
I feel like something bad isgoing to happen to me.
The death was new.
Matt Fulton (58:56):
You scared of dying ?
Yeah, of course I'm scared ofdying.
That was the last time I sawher.
I kept hearing noises in thehallway.
It hasn't reached me yet, butit's on its way.
I feel like I can't do anything.
I think Alice saw a ghost.
I didn't have any rationalexplanation for who was in those
(59:20):
photos.
Pete Iacono (59:23):
Something was happening inside their house and
I wanted to find out what itwas.
Matt Fulton (59:27):
There was a ghost in their house.
Lake Mungo.
Pete Iacono (59:48):
Yeah, of course I'm scared of dying.
Isn't everyone scared of dying?
Next, on a dingo 8-mime movie,we dive into Lake Mungo.
Get ready for a hauntingjourney through this Ozzy Corp
classic.
Thank you for taking the timeto listen to this episode.
(01:00:14):
Thank you to all my guests whogive their time to make this
podcast possible, and a specialthanks to you for listening.
Don't forget you can follow adingo 8-mime movie on social
media.
We're at Dingo Movie on Twitter, dingo Movie Pod on Facebook
and Instagram and we're on theweb at dingomoviepodcom.
(01:00:34):
If you'd like to support theshow, leave us a rating or
review on Apple podcasts orshare the show with your friends
.
Of course, you can always buyme a coffee over at
buymeacoffeecom.
Once again, thanks forlistening.
Stay safe and I'll see you onthe next episode of a dingo
(01:00:57):
8-mime movie.
You're listening to Monster Kid Podcast.
Pete Iacono (01:06):
Welcome to A Dingo \Ate My Movie, a podcast about
the weird and wonderfulAustralian movies from the 70's,
80's and beyond.
I'm your host, Pete, and todayI'm joined by Matt Fulton as we
leap headfirst into Alvin Purplefrom 1973 and Alvin rides,
again from 1974.
Good morning, matt.
How are you, mate?
Matt Fulton (01:26):
Peter, I'm good.
I'm still recovering from myprevious experience of Houseboat
horror.
Pete Iacono (01:32):
All right, so a few quick thoughts, opening
thoughts on these two movies,like what a strange double this
is, and I know I was justlooking this morning at a
trailer for Melvin's Son ofAlvin and I was like oh, should
we have done that one.
And when I looked at thetrailer I was like no.
Matt Fulton (01:53):
Oh, the fact that you watched the trailer.
I'm not even brave enough,especially after watching the
second film in this trilogy.
I guess you would call it.
Pete Iacono (02:06):
Did you know there was also a TV series.
Matt Fulton (02:08):
Yes, there is one episode floating around on
YouTube.
Pete Iacono (02:12):
Yeah, yeah, it's amazing, the series I saw some
video of I'm trying to rememberwho it was on ABC.
It was like on one of those ABCcomedy shows or something like
that.
Talking about the episode, allI can remember seeing with the
clips of the episode this showwas Alvin Purple in a bath with
a woman in the bath was full ofspaghetti.
(02:33):
Oh and yeah, it was quite gross.
Matt Fulton (02:38):
What a waste of spaghetti.
Pete Iacono (02:40):
He was being pursued by some criminals or
something, I think.
If I remember, the maincriminal guy was I forgot the
actor's name, but he was theboyfriend of the daughter of Ted
Bullpit in Kingswood Country.
I'm trying to remember theactor's name now.
Matt Fulton (02:55):
Not Lex Marenos, that's it.
That's it.
Why is it?
Pete Iacono (02:59):
That's what I think it was.
Yeah Well, that's who it lookedlike to me, so where did you
watch it?
Just talking about where peoplecan watch these movies.
Matt Fulton (03:08):
Broly, which is part of the Umbrella's streaming
service, and also on DVD, whichis through Umbrella
Entertainment.
Pete Iacono (03:16):
So we watched it on Netflix, funnily enough and
yeah, I've got both the DVDs aswell I watched Alvin Purple on
Netflix.
I don't think Alvin Rides againis streaming anywhere, or is it
?
Matt Fulton (03:29):
on.
Pete Iacono (03:29):
Broly?
It's not, is it?
I had a bit of a look and I wassurprised that the Broly don't
have it with Alvin Purple, whichis quite odd If people don't
know about Broly.
I know I've spoken about it alittle bit on the last couple of
episodes.
It's a streaming service fromUmbrella which is really great
if you want to catch up onAustralian film and TV shows.
(03:50):
They have all sorts of stuff onthere.
It's a really good streamingservice.
I've got to stop talking aboutit because they're not paying me
, but I just like it anyway.
I like it anyway and if you'rewatching a lot of Australian
films, it's a great place towatch it.
I think it's only available inAustralia, right, but a VPN is
your best friend if you'reliving overseas.
(04:10):
Alvin making me fly by Alvinmaking me lay by Alvin making me
fly, all right.
So we'll start by talking aboutAlvin Purple.
So Alvin Purple is a classicAustralian sex comedy that
(04:32):
became a cult favorite from the1970s.
Film centers around AlvinPurple, played by Graham
Blundell, a young man whoseirresistible appeal to women
seems more a curse than ablessing.
Indeed, despite his ownindifference towards sex which
sounds weird Alvin finds himselfrelentlessly pursued by women,
leading to a series of comedicand often awkward encounters.
(04:53):
The movie humorously exploresthemes of sexual liberation and
societal norms through Alvin'sescapades and misadventures.
Supporting Blundell is a castthat includes Abigail very, very
short appearance Lynette Curranand Jackie Weaver, which is
she's got an interesting littlepart under the direction of Tim
Burstle.
The film satirizes the sexualrevolution of the era, poking
(05:17):
fun at attitudes towardsmasculinity and femininity.
Its candid portrayal of sex andhumor ensured its place as a
memorable piece of Australiancinema history.
The film had a budget of$200,000.
It was absolutely panned bycritics but it actually went on
to earn $4.7 million in 1973,which is equivalent to I think
(05:40):
they were saying, about $46, $47million these days.
So it's actually it's reallyamazing and obviously the public
didn't listen to the criticsvery much and I think at that
time it would have been one ofthose movies in 73 that you
could see a lot of couples inthere, from, like you know, 19
to their mid 20s, maybe under 30, having a night out seeing that
(06:02):
movie.
It would have been prettypopular, I think, and I think it
would have been those one ofthose movies that would have
been talked about.
Tried to find some original kindof you know reviews and that,
and every time I typed in, likeyou know, into Google, original
1973 reviews, alvin Purple, wejust give me Alvin Purple
reviews.
So I probably should have dugharder into like Sydney Morning
(06:23):
Herald archives or somethinglike that.
But I can tell you now thecritics hated the movie and a
lot of people just readingthrough some of the IMDB reviews
etc.
They a lot of people don't likethis movie as well.
Yeah, what were your thoughtsinitially?
Matt Fulton (06:39):
Well, in my notes here and I'm going to say this
right up and that is my firstnote is NorgFest 55 seconds into
the movie.
True, so when you set offwithin the first minute of the
film, you, that sets the premisereally.
Yeah, absolutely Just like astarts off as a bit of a fantasy
(07:04):
, like he's mind drifting.
I think he's a well, no, I wasgoing to say a ladies man.
And then the reality.
So when that kicks in, it'sjust like, oh, what are we in
for for this?
It's just in his own world.
Some of it didn't really makesense to me, like I know it's
(07:24):
not meant to make sense.
It's not the best movie scriptor what it or the story like in
the world.
And wasn't this the film thatkind of started the whole
revolution of Australian film inregards to, you know, when the
government decided to investinto the Australian film
(07:46):
industry?
Pete Iacono (07:47):
This was one of the .
I don't think this one got thefunding.
But so the thing about thisfilm is one of the first R-rated
films released.
Once they bought in the Rcertificate in 1970, one of the
first but definitely tookadvantage of that, like so when
you think about it, we had Ithink Tim Burstle's stalk was in
71,.
I think we had Avengers ofBarry Mackenzie in 72, and then
(08:09):
this film in 73.
So I think it was.
It was kind of around that eraand we had a lot of these
sexploitation sort of Australianmovies and we had.
What else did we had?
We had Lobito, which I thinkwas another Tim Burstle film, or
Tim Burstle it was.
I don't know if you've everseen Lobito, I only remember the
ads.
I've never seen it and I don'tthink it's available anywhere.
It's basically just like a fourpart, like you know, four
(08:34):
separate stories, the anthologything, but it's all based around
sex and stuff like that.
Matt Fulton (08:41):
Was that the?
Is that the ABC of?
Pete Iacono (08:43):
No, that's different again.
That's different again.
So that's, that's completelydifferent again.
Abc of love and sex, orwhatever it's called.
Matt Fulton (08:52):
And Australia, and also Australia After Dark.
Pete Iacono (08:55):
Yeah, yeah, so they were.
What's a guy's name that madethose John Lamond?
That's who it was.
Matt Fulton (09:04):
John Lamond.
Pete Iacono (09:05):
that's it, yeah yeah, yeah, he did.
He did quite a few of theseLike he did this one.
He did Australia After Dark.
Felicity was one of his.
He did Nightmares, which we didpreviously, and Nightmares is
kind of like a Jialo AustralianJialo movie with lots of sex and
nudity.
So, yeah, so there wasdefinitely, it was definitely a
(09:30):
time for this.
And then, I think, another onethey talk about, I don't know,
on the DVD, on the Alvin DVDthere's like a 43 minute or 45
minute promotional documentarycalled Inside Alvin Purple,
which, incidentally, wasdirected by Brian Trenshard
Smith, and they were saying thatit was kind of like they were
talking.
When they were talking aboutthis movie, though, they were
(09:51):
inspired by things like libidobut also things like there was
this movie called BedroomMizzurka, which was massive in
the 70s, early 70s, which was aforeign sex film, and it had the
same sort of thing.
It was like three or fourdifferent stories, like an
anthology thing, and that waskind of a big thing as well and
(10:12):
they kind of, you know, sort ofwent off the back of that.
So I think in the early 70s,going back to what you were
saying, I think we're in thiswhole period of not just the R
certificate we were about to gointo the whole.
You know government grants forfilms, things like that.
But we also had this kind oflike this sexual awakening in
Australia.
(10:32):
I think the subject became lesstaboo and ended up on the
screen a lot more.
And none of these movies arereally.
You definitely wouldn'tconsider them porn, and you're
probably.
They're probably not even.
You wouldn't even really thinkthey're soft-core porn.
Right, and it's not.
It's not case of the smilingstiffs kind of stuff you know
and it's, yeah, it is gratuitous, no doubt.
(10:55):
Yeah, absolutely.
Matt Fulton (10:56):
But yeah, it is that borderline of it's
soft-core porn.
But then as soon as they addlike a little comedic reference
or something, that a song thatkind of resembles Benny Hill,
and it's like, oh no, it's not asoft-core porn, it's a comedy,
and I feel like that that kindof breaks the scene when you
(11:19):
just hear this.
Pete Iacono (11:23):
I think Tim Burstle said in this little documentary
that, or in one of theinterviews there's also some
interviews on the disc as welland I think he was saying that
he tried to put some sort ofhumour about every minute or so
into the movie just to remindpeople that it's a comedy.
So I think he kind of thought,okay, if we just have all the
sex stuff and not many laughs,people are just going to think
(11:45):
it's a sex movie.
That, or if I put in like boingtype Especially in the second
movie which we'll get whenthey're getting that chase on
the ferry, which is reallystrange sound effects.
It's a funny movie, likethere's a few things right.
Like the movie is apparently,if you listen to Tim Burstle, a
(12:07):
kind of like a play on the wholeearly seventies sex therapy
thing which was apparently a bigdeal.
I don't remember, I was only 11.
He sort of said well, are sexclinics a new form of sex
therapy or are they just an oldbusiness of prostitution, like
the old reasons of prostitution?
And that I think that comes outin the movie right when you've
(12:28):
got this psychiatrist guy who iseffectively making stag movies
using Alvin Circle yeah, andit's like okay, so are you being
a pornographer or are you justbeing an absolute sleazebag?
I think the other thing aboutthis movie that's interesting is
(12:49):
like it's almost like AlvinPurple is abused in a way, if
you look at it with a modernlens.
He's being abused like sexuallyabused by some women, like his
teacher's wife sexually abuseshim.
He's always been chased bywomen and it's really
interesting.
He kind of has this thing whereif you take the movie, I know
(13:12):
it's only a comedy and I knowit's just a junkie comedy, but
if you kind of put a kind of aserious edge on the movie it's
only when he starts talking orhaving a relationship with I've
forgotten the character's name,but the one he ends up with near
the end, tina, that's it whenshe is more about personality
and more about real lifeconnection rather than just a
(13:34):
sexual connection.
He obviously kind of can't helphimself with all the other
stuff coming on around him.
Matt Fulton (13:39):
No, it is.
He reeks of.
Well, his libido is just oozesand Alvin's just completely.
He is aware but unaware, likeit doesn't affect him, he just
thinks that's part of everydaylife.
And then when he's beingapproached by the sexual desires
(14:02):
really, and they do exploit himin a way or sexploit him.
Pete Iacono (14:09):
He's definitely exploited, and I'm probably not
in a position to talk about this.
It's a very fine line.
I'm not sure, though, thatwhether this movie is also a
reflection of the women'sliberation movement of the time
as well, where women are moreempowered, seem more empowered.
So in this movie they seemquite empowered and they're kind
(14:31):
of almost the what's the word?
I don't want to say stalkers,that's the wrong word, but
they're kind of like they're theones that are actually making
the moves on him, rather thanthe other way around.
Matt Fulton (14:45):
It's interesting to kind of look at it, If the
tables were turned and it's likethis is what women have to deal
with on a day to day basis.
Pete Iacono (14:55):
Yes, probably it's a bit like that.
Maybe it's a bit of a take onthat as well.
I'm getting ready for all thehate mail I'm going to get from
women that listen to this time.
Let me just start by saying I'mnot qualified to talk about a
lot of this stuff, so it's justoff the top of my head, and if
you don't agree, let me know.
I'm happy to have theconversation.
(15:17):
There's something about thismovie somewhere.
I think it actually has alittle bit more depth than it
kind of appears to have, and Ithink when you look at it that
way, it's quite an interestingfilm.
Matt Fulton (15:30):
As the movie goes on, there are moments where it
starts feeling a bit wherethey're going with this and not
trying to ruin or spoil anything.
It gets really dramatic dark.
Yeah, like it gets really heavytowards the main part, like, oh
yeah, fair enough, it goes fromthat big laughing, laughing ha,
(15:52):
ha, and next thing you know, oh, we shouldn't be laughing at
that.
Pete Iacono (15:54):
Yeah, but anyway it's a funny movie.
I mean I like the way early onin the movie he's trying all
these different jobs, trying toget a job.
Matt Fulton (16:04):
It seems to continue on in the second movie
a bit as well and the one wherehe's the waterbed salesman is
pretty hilarious, yeah, and Ijust like the opening credits
where you got the bed mattressbouncing up and down and you
know, the first thing that Ithought of was there is zero
(16:26):
lumbar support.
I'm going wow, where's themirror coil in that?
Pete Iacono (16:32):
Yeah, it's really.
It's quite funny watching himall slosh around in the scene
where he's got the cowboy bootsor whatever it is and he pierces
and he spurs and he pierces thewaterbed.
I said to me, we're watching.
I was like hang on, there'smore water there than would have
been contained in that waterbedas well.
Matt Fulton (16:50):
I think that might have been, for a bit of a fact,
a comedic effect.
Pete Iacono (16:54):
I think so.
Yeah, the car chases are good.
It's got some interesting carchases.
Like you said, it's very BennyHill.
I was like, is it the maze Ifthey played Yackity Sax in this?
It would be, and just sped itup a little bit.
Matt Fulton (17:09):
Yeah, that's all it needs, and they've already
applied the wacky sound effectswith some parts as well, but
it's just pure sex slapstick.
Pete Iacono (17:18):
The other thing that was interesting to me is
like I was looking at how themovie progressed right and I had
this thought we get to thescene where so Alvin Purple gets
basically used by hispsychologist to make blue movies
and then they get caught out bythis other psychologist he was
originally seeing who eventuallywanted to sleep with him she
(17:39):
looked like she was fairlystraight laced and he kind of
refuses her advances and thenshe decides to basically
blackmail him because she knows,she knows what's going on, and
they end up in this court scene.
And the court scene is quitefunny and we go through this
whole piece and when he comesout of court, when he's on the
(18:00):
shoulders of these peoplebecause they've won the court
case, et cetera, et cetera, Iwas like, oh okay, the movie's
going to end and then we've gotanother 20 minutes to go and I
thought it was.
It felt really strange having,like the I guess I'd call it the
husband chase tagged onto theend where all the husbands get
together and chase him.
I was like I think this wouldhave been better in the film
(18:22):
itself and the end of the filmwould have been him being
chaired out of court winning.
Matt Fulton (18:27):
I mean that would have been a logical and the
escapades they get up to.
Afterwards it's like thatthey've gone.
Oh, we didn't spend all ourbudget, how do we?
How do we get rid of it, or howdo we burn the cash off?
Pete Iacono (18:41):
And then next thing you know is they do what they
do, that whole piece with thechase and him being chased
through Melbourne streets halfnaked or naked, and then the sky
.
All that was after theskydiving, the skydiving bit and
all this sort of stuff and theskydiving bit when he was coming
down on the parachute.
I swear there was somebody thatthe sound effect was somebody
(19:03):
in a microphone going yeah, well, I blew that budget nuts scene,
didn't they?
So they have that whole sceneand they could have quite easily
have moved that whole piecesomewhere else in the movie and
then ended with the with thecourt scene.
I don't know why they did that.
(19:24):
Unfortunately, Tim Bursell isnot here anymore.
Matt Fulton (19:26):
I'd love to know Another thing.
It could be when they wereputting it all together and then
they realized there was still acertain like short from
completed film, because it mighthave come in at the the just an
hour long.
Pete Iacono (19:40):
Yeah, maybe, but still, even when you film that
part, doesn't someone like yougo out and film all that?
Doesn't someone look at it andgo?
It's not really a logicalending.
I can't remember what was theending.
Again, how did it end?
He got so he gets chased, hehas the, he lands in the Yarra
River, which must have beenlovely for his health.
And then, oh my God, I kind ofremember what happens at the end
(20:02):
.
Oh, he ends up, he does.
He go off with Tina.
Matt Fulton (20:06):
He ends up finding Tina, who ends up had a sister.
Pete Iacono (20:09):
Oh, my God, yes.
Matt Fulton (20:11):
He ends up getting a job there.
Pete Iacono (20:13):
And we're implying that the, the nuns or whoever
they are, are going to feast onhim as well.
Matt Fulton (20:21):
Right.
Well, I've got the impressionthat, because he ended up, he
ended up getting what he wantedto have at the start and that
was a job, and he ends up beinga groundskeeper or the the lands
of the nunnery and the convent.
And so it's all about celibacy.
(20:42):
So, it's because Tina wasn'tattracted to Alvin in that way.
Pete Iacono (20:50):
Yeah.
Matt Fulton (20:51):
Because she resisted Alvin's sexual I guess
aura.
So that's why he's going.
No, I think that this place isgood for me, like the job,
because he can build everything,but then again I never thought
about the other way.
Pete Iacono (21:06):
Well, my mind's in the gutter straight away, and
yeah.
Matt Fulton (21:11):
So here I am thinking, oh, he's found some
peace.
Pete Iacono (21:13):
Yeah, well, he maybe has maybe that.
I'm sure that was probably theidea that you know.
I looked at it and I was like,oh, is this really the right
place for him to be?
Both are plausible.
Yeah, both are plausible.
Yeah, in a way, it's kind ofit's not a bad ending.
To be truthful, I just thoughtthe coming out of court thing
was maybe I was to.
Maybe the coming out of courtthing on the shoulders of people
(21:34):
is to cliche to end on, becausethat's happened in thousands of
movies, right.
Matt Fulton (21:38):
Yeah, exactly, it'll be that victory thing.
Oh yeah, fair enough, becauseit wasn't quite a dramatic
moment in the court, andespecially when they're playing
the clips back in the game, wow,like I actually felt very
awkward.
Sorry, the clips as in theevidence and gone.
Yeah, this is pretty rough.
He had the judge played byNorfaria.
(21:59):
Yeah, he was good as a freebetween the lines, sleazy judge
he was.
Pete Iacono (22:06):
And yeah, I think it was those scenes.
I actually think when I wasshowing the stag me I call them
stag musics I'm sure they weretalking about they would be
renting them out for $100 or$200 a time.
You could see them being playedat the stag parties and if you
don't know what a stag party is,it's kind of just like a men's
party somewhere with lots ofbooze and you know those sort of
(22:28):
movies or it like a bucks night, that sort of thing.
You know, when I was watchingthat I was kind of like I
actually did feel really sorryfor for the Alvin Pergola
character.
I was like, yeah, he's reallybeen exploited and used in a way
that he wasn't expecting to.
Matt Fulton (22:48):
Well, that's why he went when the evidence came out
and he's going oh what They'llfeel like he was completely
unaware and he was concernedover the feelings that Tina was
having, and also the doctor, thepsychiatrist, the I can't
remember a name either.
My apologies, but yeah.
So it was like trying tobalance it out and just previous
(23:12):
innocence, like he did thisstuff but he was under the
ruling of the perverted doctor.
Pete Iacono (23:20):
The other thing that's interesting about this
film is when they cast the moviethere was a lot of pressure to
cast somebody like I think theytalked about Jack Thompson quite
a bit for the lead in this film, and Tim Burstle apparently
pushed back quite hard on thewhole thing.
He was like, well, if we havesomebody like Jack Thompson or a
Jack Thompson kind of guy inthis movie, men are going to
(23:43):
hate him because he's just likeyou know, over the top, you know
masculine, et cetera.
So that's why he was alwayspushing to get a really average
looking guy and Graham Blundellwas that guy, I guess.
Matt Fulton (23:56):
Yeah, well, because Jack Thompson was of the time,
the Gary sweet.
Pete Iacono (24:03):
He was.
He was in Peterson, wasn't hearound that same time?
Matt Fulton (24:06):
Yeah, and so Peterson came out a year later.
So maybe when Alan Purple wasbeing made he was prepping Jack
Thompson to be Peterson, becauseit's by the same director.
Pete Iacono (24:19):
Jack Thompson was also a Cleo pin-up, I think.
Matt Fulton (24:22):
Yes, I believe so Was any one of the first ones.
Pete Iacono (24:25):
I think so.
One of the first ones.
Yeah, like a yeah, a nakedpin-up for Cleo magazine or
something.
Yeah, the music was good.
I mean I love the Alvin Purpletheme, my little bit about Brian
Cadd.
I always like talking aboutmusic where I can on these
podcasts, maybe because I justlike music and yeah, you got a
rich history of music.
I do, and that's always good.
(24:45):
Brian Cadd was basically apretty significant figure in the
Australian music industry forwell over 50 years now.
He's a singer-songwriter,producer, plays keyboard, record
label founder.
So he founded Bootleg Records,I think they were called.
He was involved in bands likethe Group and Axiom and the
(25:06):
Bootleg Family Band and then hewent solo in 72, all that sort
of stuff.
He even did a stint with theFlying Burrito Brothers in the
US.
So he's quite well knownProbably best known in Australia
for songs like Ginger man, letit Go, show Me the Way, and then
of course Alvin Purple.
(25:27):
And then I guess a lot of olderAustralians like myself remember
his song for the TV seriesClass of 74, which was a big
deal in the 70s.
And then I also noticed when Iwas having a look at his profile
that he actually only just likeas in like two or three weeks
ago released a new single calledyou Know what to Say and had a
(25:49):
listen to it.
It's pretty good as well.
So he's kind of like a rocky,bluesy kind of guy.
Now I think he goes moretowards country sort of stuff.
I saw him, oh, last time.
I saw him doing it live.
I'm sure it was back in about2013, 2012.
I was with my late wife.
We were at a country musicfestival because she was loved
(26:09):
country music up in the Hunterand I'm pretty sure he was
playing like a duo thing withRussell Morris at the time and
it was quite.
They were on very early in theday, it was quite good, so he's
kind of like been around for along time.
I listened to him a bityesterday, pretty good.
Do you know much about him, orhave you been exposed to him
(26:29):
very much?
I know you're a bit younger.
Matt Fulton (26:32):
Well, I did work at .
One of my previous jobs wasworking at a classic KS radio
station.
Pete Iacono (26:38):
Oh, you would have known for sure.
Matt Fulton (26:41):
His appearances on Rock Quiz and Spicks and Specs
and also still tours a lot.
So yeah, it is that wholegeneration of my generation, I
should say, that are kind oftapping into the previous
generations and Brian Caddy ispart of that music generation.
(27:05):
Yeah, no, he's doing the roundstill, he still is, and that's
great.
Pete Iacono (27:10):
I love it.
Like he must be.
Well, he was born in 1946.
What does that make him?
Oh, my maths is terrible.
Matt Fulton (27:18):
Quite young.
Pete Iacono (27:19):
Quite young.
Well, he's 20, almost 20 years70, 78.
Matt Fulton (27:25):
Yeah, He'll be 78.
Pete Iacono (27:28):
But you know nothing like a good old music at
still doing it, which is great.
Plenty of us still out theredoing stuff, so it's great.
Of course he's as young, Ireckon keeps you young playing
music as you get older.
Matt Fulton (27:42):
Especially when you switch from beer to soda water.
Definitely that's that stagewhere you start.
Better, start looking aftermyself a little bit.
Pete Iacono (27:52):
And you go from marijuana to multivitamins.
Matt Fulton (27:57):
Yeah.
Pete Iacono (27:58):
Yeah, definitely changes anyway.
So, yeah, so this movie, Idon't know.
In closing, I just think thismovie is a bit of fun.
It's certainly not earthshattering, but it is kind of
like if you go a dig a bitdeeper into it, it actually has,
says some interesting thingsand on the surface it's just sex
(28:19):
exploitation comedy, which isprobably the best way to take it
.
There's a bit of meat there.
Sounds like a double on tonda,If you want.
If you want to have a look, asthere's a bit there.
So was it good for you?
Matt Fulton (28:33):
Yeah, like I was, leave the brain at the door, I
cracked it.
How did?
I had a beer while watchingthis and, yeah, I, since we last
spoke, I've now sinceregistered with letterboxed and
I gave it three stars.
Pete Iacono (28:52):
Okay, I think I gave it.
Yeah, I think I gave it aboutthe same.
Matt Fulton (28:54):
Yeah, and I called it a pure shameless Osploitation
.
Nog fest.
Pete Iacono (28:59):
There you go.
That's beautifully.
Yeah it's all about the boozebaby you did see.
There's like one scene in themovie, I think, where you get to
see his old fella for like asplit second, I think.
I don't remember seeing it alot.
Matt Fulton (29:18):
It was there, I think he was wrestling with
Chris McQuade in the waterbed,the.
I don't know how to wait, butChris, she was the artist, the
painting artist, but also thedominatrix, I think, or maybe it
was her.
Pete Iacono (29:32):
Yeah, it was one of them and I think that's the
only time that I remember seeingit in the movie in any in any
sort of thing.
There's a few, there's a bit offull frontal stuff from the,
from the ladies in the film, butit's nothing gratuitous really
in this movie, it's just a bitof nudity.
Matt Fulton (29:50):
But then again it's like the first minute or so
when they had Abigail, who atthe time was the draw card to a
lot of TV and film in Australia,Pretty much the Pamela Anderson
of the 70s.
Pete Iacono (30:05):
Oh, she was yeah.
Matt Fulton (30:07):
Yeah, so, and then when you've got her wearing a
revealing top on the tram inpublic, yeah, you knew that
you're in for a or a.
Males of a certain age were infor a bit of a I wouldn't say
treat, but as in, yeah, this iswhat you're going to be in.
Pete Iacono (30:27):
This is what you're going to be in for, like she
was a massive draw card forthese movies.
She was like she was in thismovie, she was in the next movie
.
She shows a bit more in thenext movie than she showed in
this movie.
She's also massive starringnumber 96, right, was this about
the same time as?
Oh, here we go.
He's reaching for his.
Matt Fulton (30:47):
I've got all three volumes of number 96.
Pete Iacono (30:50):
Yeah, oh, wow.
Matt Fulton (30:51):
Yeah, which I know.
These are rare.
See, I'm too young for thestuff that I'm interested in, so
I've missed the generation.
Pete Iacono (31:01):
He missed all that.
I remember seeing that on TV.
I will I think.
What year was number 96?
Was that 70s?
Matt Fulton (31:07):
1974.
Pete Iacono (31:08):
There you go.
Matt Fulton (31:09):
Sorry, no, no, I do apologize.
1972.
Pete Iacono (31:12):
Okay.
So yeah, I'm 10,.
I'm 10 years old, so I'mprobably not allowed to watch it
1972.
Matt Fulton (31:19):
And yeah, it's a yeah, abigail's front and center
up in.
Pete Iacono (31:25):
That was pretty groundbreaking series actually,
wasn't it?
Matt Fulton (31:28):
It was yeah.
Pete Iacono (31:30):
It was everything from homosexuality.
Matt Fulton (31:33):
And then there was um in regards to sexual abuse
and, yeah, just was very, veryrisky yeah it was, wasn't it.
Yeah, yeah, like it broke a lotof taboos.
Pete Iacono (31:43):
It did.
Yeah, it was pretty big.
I just remember the most.
The thing I most remember is,uh, the explosion in the is it
the corner store?
Matt Fulton (31:51):
Well, the, the explosion in the corner store,
yeah, downstairs, where therewas the, the bomb, yeah, which
is in volume three.
Pete Iacono (31:59):
All right.
So that was Alvin purple.
Now we're going to dive intoAlvin Marys, again from 1974,
which is of course the 1974sequel that dives back into the
misadventures of Alvin purple,played again by Graham Blundell.
This time he finds himselfentangled in what even more
(32:19):
absurd situations as heaccidentally becomes involved
with gangsters.
This is really over the top, um, uh, while still being
irresistibly attractive to womeneverywhere.
So he encounters his double inthis film played by himself, and
it leads to some seriousmistaken identities and you know
chaos, right?
Um, we have Alan Finney asSpike, abigail as the seductive
(32:44):
May, noel Ferrier, again asfingers, um, the gangster.
So the movie kind ofcapitalizes on the sex comedy
formula, but it also has, likethe dual role gimmick and I
think makes it a little bit moreof a standard comedy.
Matt Fulton (33:03):
You know what it kind of reminded me of, like it
was lamp hooting, say the JamesBond type baddies, yeah With
fingers, or think of wasgoldfinger.
Pete Iacono (33:13):
And what was the Nelfaria guy called?
Oh, the hatchet, or somethinglike that, yeah, yeah.
Matt Fulton (33:20):
Yeah, so you had those returning actors from the
first film playing completelydifferent characters.
Pete Iacono (33:26):
I was going to say this is my first point what the
heck Anulferia and PennyHackforth Jones doing in this
movie, playing completelydifferent roles in the first
film.
I'm watching this scene wherePenny Hackforth Jones is the
like in the cricket team.
She's in the women's cricketteam.
She's like the dead mother Iguess one of a bit of a term and
(33:48):
he's sitting right next to himLike don't you realize?
You're sitting next to yourpsychiatrist from the first
movie.
You tried to ruin your life.
What's going?
Matt Fulton (33:58):
on.
Pete Iacono (33:58):
I'm like, why did we end up with these people back
in the movie?
And then Anulferia he was thejudge in the first movie and now
he's hatchet in this movie.
Matt Fulton (34:07):
Yeah, well, it's bizarre.
And the fact that Abigail is init by playing a different role,
from tram passenger to theassistant, or the wife or the
shop assistant to at the petrolstation that Maury Fields runs.
The mechanic is the mechanic.
(34:27):
So yeah, so bizarre.
Pete Iacono (34:30):
I didn't quite get it.
I was not confused, but it'slike I just don't understand how
they, what they're reasoning.
There's no on the DVD.
I don't think there was any.
There was a couple ofinterviews, I think, but there
was no.
Like there's no commentary onthese every bear.
But I just I'm not sure why,why they ended up in here.
(34:52):
I'm just thinking, was thereany more that are in here in
this, in this film, that were inthe first film?
There's probably a couple.
Matt Fulton (34:58):
Well, there was actually.
No, I don't think there was,but I just that might have been
people in the background oranything like that.
In fact, I was going to mentiontoo from first movie of Alvin
Purple.
I did notice and I got itconfirmed by committee in Tony
Martin.
Sorry to go back to this, butShane Bourne was in it.
Pete Iacono (35:22):
He was yeah.
Matt Fulton (35:24):
Yeah, when the waterbed sales inside the
shopping centre.
Yeah, so is there having asmoke and smoking.
And I was looking for him inAlvin rides again, just in case,
since people were reoccurringin the thing.
Pete Iacono (35:38):
if he was in it, yeah, but no he wasn't, so OK
yeah.
It's interesting film becausewe had, like we had a cameo from
pre long weekend, breone Behetzplaying a taxi passenger early
in the movie and she was justthere to do the usual Alvin
Purple stuff.
Matt Fulton (35:53):
Yeah, the Nymphomaniac.
Pete Iacono (35:55):
Yeah, exactly yeah.
And then we had in her secondfilm Chantelle Cantori, who was
in the last movie we did on hissnapshot, and then she went on
to do thirst and lots of otherthings as well, and she's name
in this movie is crazy it'sboobs, litchou, shea or
(36:15):
something like that I know right.
Matt Fulton (36:18):
It's such so Austin Powers.
Before it was Austin Powers.
Pete Iacono (36:22):
Well, do you know what?
That's the vibe I got from her.
Matt Fulton (36:25):
Yeah.
I really enjoyed watchingGraham Blundell play two
characters, which was kind offun that was his doing, because
he, I believe that they didn'twant to make a sequel, so this
was kind of forced them by thestudios and I believe that
Graham had actually said that ifyou're going to do it, you need
(36:47):
to do this and give me somemore range just to show that I
can do it.
And that's why he ended updoing those two roles.
Pete Iacono (36:54):
Some parts of it.
There's a bit of a Weekend ofBernie's vibe.
Yes.
Matt Fulton (37:01):
I do have that in my notes too.
The magician's scene won't go.
Yeah, that is very Weekend ofBernie's, and in the hotel room,
yeah.
Pete Iacono (37:08):
So it's basically the story is he kind of meets up
.
For some reason he and hisfriend forgotten his name, spike
decide to head north.
I thought they're heading toQueensland, but then I just
assume everyone's in New SouthWales, within Victoria.
So they're heading to New SouthWales and they decide to go on
(37:28):
the road.
They take off in this reallycrappy little car which breaks
down, and then that's where wefind see Abigail for the first
time and he has dalliance withher while his car is being fixed
at the back, and they end up atthis casino.
I don't know where this casinois.
It's just like some casino inthe middle of nowhere.
Matt Fulton (37:50):
Oh, my monobene in Canberra casino, maybe all the
game halfway yeah.
Pete Iacono (37:54):
And they end up with this character from the US
who's scoping out.
He's named Balsmagi AnotherAlvin Purple kind of name for it
.
Matt Fulton (38:06):
Yeah, with the exact same going in and out of
Australia and America, and theonly thing difference was like
wearing the suit suit andthere's scarring on his face and
something to kind of representhow gangster he was, how
gangster, he is.
Yeah, with his flu is easier.
Pete Iacono (38:25):
And Gus McCurrier is in this as well.
He was like he's off-sider,balsmagi is off-sider.
It's quite funny.
Yeah, there's a little bit ofthe usual sort of slapstick
stuff in here.
There's the whole scene wherethe casino detective, or
whatever they call him, thecasino police officer, the house
detective played by FrankWilson.
Matt Fulton (38:46):
Yeah, he is just like he could read between the
lines, and that's when it goesall weak in that Bernie style.
Pete Iacono (38:58):
It's so gross with.
He wants to see them togetherand they've got Balsmagi's body
in the bath with one of hisgirls and she actually kisses
him.
I mean, obviously he's alive inthe real thing, but we're
supposed to know that he's deadand it's like oh, yeah, goodness
, yeah, that's all quite.
Matt Fulton (39:18):
And he's like, oh hello.
Pete Iacono (39:20):
Yeah, exactly.
Matt Fulton (39:21):
Yeah.
Pete Iacono (39:21):
So yeah, it's quite funny.
There's that that's very much aweekend at Bernie's thing, and
then you mentioned the magicianas well.
That's a funny scene actually.
Matt Fulton (39:30):
Yeah, can I mention that towards the opening
credits of the film?
I've noticed that when they hadwhen it came up with Frank
Thuring who plays Fingers, butit says courtesy of the
Melbourne Theatre Company, Inoticed that as well.
Yeah, wow, such prestige.
Pete Iacono (39:51):
Yeah, and then, of course and another point I need
to make, where I guess thingsare a bit different in those
days is a.
Ross Bover plays this dwarf inthe movie.
Matt Fulton (40:03):
Oh, yeah, he's not.
He's not playing and we're onlygoing by what it's been labeled
.
In the movie of its time Hischaracter was in the.
In the looked up in the credits, he was called the dwarf.
Pete Iacono (40:17):
Yeah, he was.
Matt Fulton (40:18):
Sorry, we're not labelling in that.
Pete Iacono (40:22):
That is what he was called.
Matt Fulton (40:23):
Yeah, that's what he was called.
Pete Iacono (40:25):
Seeing this as a movie of its time.
There are short people jokes,mostly from Frank Thuring, and
once again, these days youwouldn't do it right.
But but the 70s, it was just athing.
I think he's pretty funny,though Am I wrong to say that?
I think he's really funny theway, especially when.
Matt Fulton (40:46):
I manipulate his voice.
Yeah Well, that's manipulated,like.
I'm pretty sure it's dubbed, orthey got his voice and then
they sped it up.
Pete Iacono (40:54):
He's got some funny scenes, like when he's you know
, when they double crosses FrankThuring in the in the safe and
he's in the safe at the end.
Matt Fulton (41:02):
And that was totally random.
I was oh, you got me.
Pete Iacono (41:10):
Then we get the little.
You get the tag at the endwhere he's flying the plane that
they're flying off in as well.
Matt Fulton (41:15):
Oh yeah, it's so weird.
Pete Iacono (41:18):
It is a weird movie .
Matt Fulton (41:19):
When Alvin decided to escape up north there was the
moment where it caused Alvin.
The whole premise with Alvinrides again is that he's looking
for a new job, so apparentlythe one at the groundskeeper.
He kind of went through that.
But when he gets the windowwasher, roll at the two story
home and falls off after Lady isjust studying their starkers
(41:43):
but it's the new job as theoffice cleaner and the office
lady seduces him, I just couldnot stop looking at the office
Boston next day when he walks inthe mutton chops on his face.
Oh my God.
Pete Iacono (41:54):
Yes, and the comb over yes.
Yeah, I was like.
Matt Fulton (41:59):
I just could not.
I felt like I was nearly yelledat TV game Come your face or
shave it.
It was just.
I've never seen so much muttonchop on his face.
Pete Iacono (42:10):
I know he walks in.
I said to me he said look atthe chops on this guy.
And then, and then I'm like, ohmy God, he's got a really bad
comb over as well and I'm like Ican't remember the last time.
It must be so out of fashionthese days, thankfully, like
combovers must be totally out offashion these days.
It's like Florida.
Matt Fulton (42:29):
to kind of date it.
It's like you know a wholething at the time of this
recording when Godfrey's hadgone into voluntary, the
administration thing.
And then you got the Mr Hardywho was the sales rep for
Godfrey's with the comb over,looked him up and he's still got
his 80 and he's still got thecomb over, oh God.
Only because we're talkingabout combovers.
Pete Iacono (42:51):
Yeah, no, that's all right.
Well, it's obviously from adifferent generation, right?
And I'm getting a bit bald atthe back and I'm like I'm just
going to let it go.
Yeah.
Matt Fulton (43:01):
I'm in my early 40s and I've just I've lost it all.
Pete Iacono (43:04):
So yeah, I'm like this.
I think eventually I'll end upshaving it all off, but you know
, it's all grown back sinceMakiima, which is kind of nice,
but not not all of it, but yeahit's.
It was an interesting film,like well, one of the things was
only rated M at the movies aswell.
Well they, which was quitecontroversial.
Matt Fulton (43:23):
Well, I think it was because they wanted to
appeal to a younger audience.
So, while Alvin Purple was like, it made its motto for an R
rated film, which is prettyimpressive, but I think when
they tried to make the sequel tothe studios, again we want to
be like.
Alvin Purple obviously wouldhave been following in.
(43:44):
A whole bunch of younger kidswere wanting to watch it, but
they couldn't.
So they got all right, there'san audience there, let's tap
into that, and that's why theywent that way.
But it just felt like the moviewas being made up as it went.
Pete Iacono (43:58):
Yeah, it was.
So it was had a $300,000, Ithink $300,000 budget.
It only made about $1.8 millionat the box office.
So, it, regards the other one,didn't even do half of what the
other one did and you know, itjust didn't perform as well.
I think there's a quote hereI'm reading from John Lamond,
(44:20):
who actually worked on thefilm's release, saying he
thought the filmmakers made amistake making it less sexy
because they didn't want to loseany potential audience.
So the second one wasn't ratedR and it flopped, fell on its
ass after the first month.
Matt Fulton (44:34):
He said Well, if they do want to lose any of the
potential audience, they shouldhave just kept it as an R rating
.
Pete Iacono (44:38):
Yeah, exactly Because I think half the
attraction of an R rating is thefact that it's R right.
And you know you've got theusual problem with kids trying
to get in, trying to sneak inand stuff like that, which is a
whole part of the fun.
We all did it and you know it's.
Yeah, it probably would havedone just as well.
Matt Fulton (44:58):
That's the thrill of the chase of sneaking to a
movie which you don't have, thatthese days anymore.
Pete Iacono (45:06):
I was reading yesterday, when they first
proposed the R rating inAustralia in 71 or 70 or
whatever it was, that there wasa heap of pushback from the
cinemas themselves because theydidn't want to be the ones that
would have to enforce it.
Yeah, in regards to having togo through all the trouble of
making sure that they werechecking ages and all this sort
(45:28):
of stuff.
Matt Fulton (45:29):
Because they'd lose revenue.
Pete Iacono (45:30):
Oh, that's exactly right.
Yeah, hey, what did you thinkof the cricket scene?
So?
Matt Fulton (45:36):
random.
Yeah, this is where it feelslike they're just making it up.
Yeah, bringing the group towrite in the women into the
movie to have a sexual escapade.
But the fact that the team waslosing.
And then so Alvin and Spikedressed up in drag to do their
(45:57):
thing, to play as the women andstart winning the game.
And also the Very dated sludgesfrom all the hecklers yeah,
terry Gill playing one of them,especially when the players are
slapping the women on the butt.
Pete Iacono (46:15):
So yeah, it was like very uncomfortable.
Yeah, I thought that as well.
It was a bit uncomfortable andI thought for a minute.
I thought, oh, all the girlsare going to come out and
they're going to surprise themby being good at cricket, right,
they obviously weren't, but itwas a little bit mean spirited
actually and I'm like, why woulda women's cricket team play a
(46:36):
men's cricket team?
And for starters, because mythinking was okay, one of these
women is going to hit the ballout, you know, towards that
group of men on the sideline,heckling, and hit one of them in
the nuts, or something likethat.
That sort of thing will happen,right.
And the fact that that Alvinand his mate is it Spike Is his
(46:57):
name, spike Spike had to kind ofdress up in drag to kind of
save them because they put a beton them.
It was a bit rough, it was abit demeaning, but that was the
70s.
Matt Fulton (47:08):
Yeah, and I love the fact that the oh sorry, I
shouldn't say that I don't lovethe fact that I found it amusing
that the male cricket team werefrom Buffington RSL.
Pete Iacono (47:20):
Yeah, we noticed that as well.
It's like oh, okay.
Matt Fulton (47:24):
Oh, actually did you notice, though, when they,
when Spike and Alvin were in thehotel and Alvin was, you know,
getting it on with one player ata time, and then it's like
Spike's like send some my way,and all the different door
knocks that would just turn upwhere, especially with a cleaner
(47:46):
and ladies of all differentages and sizes, especially with
Esme Melville as well, the olderlady, and then John Michael
Halzen as the bellboy.
So there's your cameo from JohnMichael Halzen.
It's outrageous.
Pete Iacono (48:05):
Yeah, that was a bit rough too, like I was like
oh okay, so we're sending himthrough.
No fault of Alvin's, apparently, but just the way the film's
written.
They're sending him like thegay guy, the old lady and the
overweight woman.
Once again, doubt you'd see ittoday, but you know it's, it's
of its time, right.
(48:25):
The other thing that's reallyinteresting in this movie is
right at the very end, is like alittle bit of gore, right at
the very end with hatchet.
Matt Fulton (48:34):
Oh yeah, that did.
Starts movie ends up being likea bit of a action thriller type
thing on a on Sydney Harbor.
Yeah, because it's so weird.
It's like that they gave up onthe boobs all.
They ran out of money for thebudget.
It's like we've seen everyone'sboobs and so let's make boobs
of ourselves and just run amarket.
(48:57):
It's like they got a creativelicense to hey, we can film in
circular key.
What the hell do we do?
Pete Iacono (49:05):
Yeah, let's get on a ferry.
Matt Fulton (49:06):
Wow, it was just so weird.
But then again I'm allspeechless during that movie.
So I'm going.
Am I watching a really budgetedJames Bond movie now?
Pete Iacono (49:17):
Yeah, it was quite funny like that it's.
But like I said, I think it'sless, even though there was
still the sex stuff in there.
It was less of a sex romper,more of a classic sort of comedy
kind of thing, you know, butthey still, because it was an
Alvin purple movie like ifyou've made this with some other
character, they could have cutout all the sex stuff, added
(49:39):
some extra scenes.
It just would have been acomedy.
Matt Fulton (49:41):
Yeah Well, when Alvin Spike and boobs, the
character not on, just sayingboobs.
Let's just yes, when theyescape.
And then Alvin and boobs aretaken, romantic stroll then
suddenly ends up with balls asfuneral Right.
(50:01):
And then next thing, you knowthe hearse with the machine gun
and then they give chase andgoing well, where is this going?
It just suddenly ends up beinglike a full on car chase.
Pete Iacono (50:15):
It was so weird.
I was like what the fuck isgoing on, and the guy who was
chasing him in the car hardlyunderstood the word he said when
.
Anyway, when he was talking tothem, there's no subtitles on
the DVDs, so you couldn't reallyget into it that way.
He had this car that had likemachine gun at the front and
then these two rocket launchesand, like you said, it's almost
(50:37):
like a James Bond film.
Matt Fulton (50:39):
Yeah, just shooting anything and everything with
one eye patch, and so his deathperception is completely off.
No wonder why he was missinghim.
Pete Iacono (50:48):
That's right and killed a guy in a crane which
ends up killing him.
He kills.
I don't know if he kills him.
There was that rental truckthat he blew up when he shot it
and it's like OK, this isinteresting.
This isn't Alvin Pervill, butanyway.
Matt Fulton (51:06):
So if you're after nakedness and sex scenes, pretty
much the last one that you seeis just before the big shoot
them up.
Pete Iacono (51:16):
Yeah, because he's in with Boobs Latouche I love
saying that name.
Matt Fulton (51:20):
Yeah, the Boobs Latouche.
Pete Iacono (51:23):
Boobs Latouche is a tush because the way it's
written it's T O U C H E, whichI thought was too shady.
Matt Fulton (51:29):
Yeah, it's written like that, but they pronounce it
as Boobs Latouche.
Pete Iacono (51:32):
Boobs Latouche.
Yeah, and it is.
It's very Austin Powers.
Yeah, a lot of vagina.
Matt Fulton (51:40):
Yeah, it's just yeah, it's just so weird.
And then when those actionscenes are happening, I'm
thinking it's like CassinaRoyale and the David Nevin
version and Peter Sellers andwith that going on and then when
they end up on the ferry, inthe end escaping to the airport
(52:03):
and flying the Sydney, whichmagically they just end up at
circular key, and the fact thatBoobs ends up killing all the
baddies with you know, withwhatever, and then they're all
going.
Oh well done, you have learned.
It's like why did?
(52:24):
Why did Demean you?
You have, I see, you havelearned.
You know you're Judo well type.
Oh my God.
Pete Iacono (52:33):
Yeah, it's so strange Like she.
She shoots the first guy and hesays something like I wasn't
expecting that or something likethat, or whatever it was.
Well done.
Well, she stabs the second guyand he says a few things the
same way, and then she puts ahatchet in Null Ferry's head,
(52:55):
which is like where I said thegore comes.
That's like that's pre-Fridaythe 13th even.
Matt Fulton (53:00):
Yeah.
Pete Iacono (53:01):
So you know it's groundbreaking right.
Matt Fulton (53:04):
And it does like a Shakespeare-esque type of line
at the end.
I love the the special effectswith it, where it's literally
red paint, because that blood isjust way too thick and bright.
Pete Iacono (53:19):
Yeah, it's.
Yeah it's very red, but yeah,so it's.
It's an interesting movie.
We get another.
We get another little bit fromBrian Cadd.
In this movie he sings.
There's a like just before thescene with the magician.
There's a scene with his band Ithink it's a bootleg family
band at the time doing his gigand I was like geez, they
(53:40):
cleared that stage so quickbecause they finished playing it
and the magician's on stageright where the drummer was set
up.
Matt Fulton (53:46):
But that's the you know, because you're you're
playing the odd band and it'slike you click your fingers.
Pete Iacono (53:55):
Just click your fingers, it's all gone.
That's it.
It's very quick and that stageis so small.
That poor drummer and he was, Ithink he's a real drummer.
He was kind of overplaying hissort of hand movements.
He was probably told by thedirector to make it look more
like he was doing something.
But it was quite funny.
(54:16):
But you know it was, it was agood movie.
It was funny and I don't know Iwas kind of thinking out of the
two movies did you have apreference for one over the
other?
Matt Fulton (54:26):
Yeah, well, I would say that with Alvin Rise again
and I put this on my letterboxas well I gave it one and a half
Like I tried my absolute best.
I only pushed through itbecause we had to.
I had to review it for thepodcast and I my comment for it
was Jesus, this sequel made nosense and I'm I'm really open to
(54:52):
accepting that.
It's like with Barry Mackenzie,all design type where it goes
into like a whole vampire typething.
I'm always open for acompletely different direction
or anything like this.
But I really struggled withAlvin Rise again.
Pete Iacono (55:08):
I kind of didn't mind it.
I was.
When I first finished watchingit I was like, did I actually
enjoy that?
And then I was like, when I wasreflecting on, I was like I
enjoyed it, but I enjoyed itlike I would enjoy, I don't know
, a piece of chocolate.
Matt Fulton (55:24):
And then it's gone and you forget all about it.
Whereas.
Pete Iacono (55:29):
Alvin Purple's probably a little bit more.
God can you even say AlvinPurple's thought provoking.
I guess it is in a way.
I know it sounds like I'mbuilding these two up too much,
but the main reason and I'lltell you the truth, the other
reason we decided to do both ofthese was because I'm like I
can't fill up an hour talkingabout Alvin Purple.
Matt Fulton (55:51):
I don't blame you.
Pete Iacono (55:53):
All right.
So, matt, let me know wherepeople can find you and let
listeners know where people canfind you, what you're up to and
all your socials, if you want.
Matt Fulton (56:03):
Sure, well, my stuff is my Geek Culture, the
Australian type pop culturewebsite.
So if you look upMyGeekCulturecomau and also it's
available on YouTube.
So I've got some stuff whichI'm filming and I've got another
(56:24):
podcast coming up based on that, which is not boring.
It has elements of this podcastin it, so it's like an extended
universe, I should say.
So it's something which you maybe interested in as well.
Pete Iacono (56:37):
Not like a multiverse.
Matt Fulton (56:38):
Yeah, multiverse, yeah, an Aussieverse.
Pete Iacono (56:41):
An Aussieverse.
There you go, there's a new one.
It's a exploityverse.
Matt Fulton (56:46):
So that's coming soon and, as well as I do the
Champagne Comedy podcast, whichis myself and my co-hosts,
review the catalogue of theWorking Dog Comedy team.
Yeah, and look at that up onany podcast platform Champagne
(57:06):
Comedy podcast.
And yeah, I'm just floatingaround on socials as well.
I'm very active on Twitter atMattFoltoncomau and my website
is mattfoltoncomau.
Pete Iacono (57:23):
Excellent, excellent.
So you're one of the peoplelike me still calls it Twitter?
Yeah, I'm pretty much the callit, but I'm also on Blue Sky.
Matt Fulton (57:35):
Yeah, I'm on Letterbox as well.
So ever since you mentionedthat, I want you to better make
the effort, so I'm on Letterboxis so good.
Mattfoltoncomau on Letterbox.
Goodness gracious, what are thesocials?
Instagram, Mastodon Threads.
Pete Iacono (57:49):
Excellent, all right.
Well, thank you so much forcoming on.
It's always a pleasure havingyou on and having a good chat
with you about all these weirdAustralian films, and these two
were definitely definitely that.
When we come back, we'll talkabout what's coming up next.
And now preview time.
When it comes to entertainment,you can't beat a good film, so
(58:19):
let's take a look at what'scoming your way.
The following is based on trueevents.
Can you interpret dreams?
Sometimes, how do you feel whenyou wake up from these dreams?
They scare me a bit For AlicePalmer.
(58:45):
Underneath the hopes of abright future were suspicions.
I feel like something bad isgoing to happen to me.
The death was new.
Matt Fulton (58:56):
You scared of dying ?
Yeah, of course I'm scared ofdying.
That was the last time I sawher.
I kept hearing noises in thehallway.
It hasn't reached me yet, butit's on its way.
I feel like I can't do anything.
I think Alice saw a ghost.
I didn't have any rationalexplanation for who was in those
(59:20):
photos.
Pete Iacono (59:23):
Something was happening inside their house and
I wanted to find out what itwas.
Matt Fulton (59:27):
There was a ghost in their house.
Lake Mungo.
Pete Iacono (59:48):
Yeah, of course I'm scared of dying.
Isn't everyone scared of dying?
Next, on a dingo 8-mime movie,we dive into Lake Mungo.
Get ready for a hauntingjourney through this Ozzy Corp
classic.
Thank you for taking the timeto listen to this episode.
(01:00:14):
Thank you to all my guests whogive their time to make this
podcast possible, and a specialthanks to you for listening.
Don't forget you can follow adingo 8-mime movie on social
media.
We're at Dingo Movie on Twitter, dingo Movie Pod on Facebook
and Instagram and we're on theweb at dingomoviepodcom.
(01:00:34):
If you'd like to support theshow, leave us a rating or
review on Apple podcasts orshare the show with your friends
.
Of course, you can always buyme a coffee over at
buymeacoffeecom.
Once again, thanks forlistening.
Stay safe and I'll see you onthe next episode of a dingo
(01:00:57):
8-mime movie.
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