Broad slapstick. Even so, Dad is less of a moron in this one, but co-producer Bert Bailey still comes across as an irrepressible camera hog. Fans will notice Peter Finch in a small role (you can recognize him, but not his voice) and the lovely Ann Richards in a major one. The other girls are mildly attractive and there's a fashion show for connoisseurs as well.
Production values in the photography and art departments are visually attractive, though thrown away on low-grade slapstick like this. Historians will likewise be disappointed to find that a large amount of the city footage has either been contrived through the process screen or is simply a montage of newsreel material from the stock library. All the same, editing (utilizing sophisticated wipes and clever montage routines) and photography are highly professional.
Although the movie is slickly produced, Hall's direction seems less smooth than usual. Some awkward cuts testify that the movie was undoubtedly made in a rush. Nonetheless it became a smash hit on first release and was still playing in Australian theaters forty years later.
Production values in the photography and art departments are visually attractive, though thrown away on low-grade slapstick like this. Historians will likewise be disappointed to find that a large amount of the city footage has either been contrived through the process screen or is simply a montage of newsreel material from the stock library. All the same, editing (utilizing sophisticated wipes and clever montage routines) and photography are highly professional.
Although the movie is slickly produced, Hall's direction seems less smooth than usual. Some awkward cuts testify that the movie was undoubtedly made in a rush. Nonetheless it became a smash hit on first release and was still playing in Australian theaters forty years later.
