Alchoholic former country singer Mac Sledge makes friends with a young widow and her son. The friendship enables him to find inspiration to resume his career. —IMDb
Perhaps the least lionized of the Australian New Wave filmmakers, Bruce Beresford has developed a reputation for drawing extraordinary performances from his actors, as well as enjoying great success making stage plays work on film. Much-acclaimed for historical dramas of social and moral conflict, he surprisingly first made his name with low comedy, delighting in juvenile scatology that horrified critics while regaling the Australian public. Though he had always wanted to make films, he had to leave his native country to do so, and when England proved inimical, he applied for and got a job as a film editor (and sometime cameraman) in Nigeria, remaining there until the Nigerian civil war broke out in 1967. Returning to England, he secured a position as a films officer for the Production Board of the British Film Institute, but on a visit to Australia in 1971, he found its film community in a state of high excitement over the formation of the Australian Film Commission. Within a matter… read more
If you hate Paris, Texas (like I do), then you'll love this sublime variation, which features an actual script, story, and reason for being. Robert Duvall earns his Oscar with a simple, stoic performance, and damn near everyone involved seems to be awed by the simple "values" they keep circling around. Moral: you can't trust happiness.
Keep in mind, this was 1983, the time of the FX Summer blockbuster. This film, so bare, spare, gentle; so void of everything a lesser film would rely on, it's revolutionary in its simplicity. Lean, fat-free, story telling. It's what the story doesn't show or rely on that makes it the great film it MOST certainly is.
For this year’s incarnation of the Alamo Drafthouse Rolling Roadshow, someone had the excellent idea of commissioning the artist formerly