Heavy stuff, and though most of the based-on-a-play Morant plays out in holding cells and the courtroom, as a court martial determines the guilt of Morant and two of his compatriots (including Brian Brown in an early role), it's still compelling and fascinating stuff. Morant is a genuine bastard, but he's just following orders and trying to win a war. It's the same argument that we'd see in umpteen Nazi films (and understanding the intricacies of the Boer conflict is probably a fool's errand), but Woodward's Morant makes for a troubling and complex anti-hero. He's aided amicably by Jack Thompson, playing the three lieutenants' good-hearted but ultimately ineffective attorney. (Also of note, this film was director Bruce Beresford's big break. He'd come to Hollywood shortly after Morant hit.)
Continue reading: 'Breaker' Morant Review
The conceit this time: Each director takes a piece of classical music and sets it to film -- mostly without dialogue and invariably without any sense whatsoever.
Continue reading: Aria Review