User Reviews

Australia in the early 20th century. Crafty and rascally master showman Maurice "Pop" Pym (an excellent and engaging performance by John Mellion) loves cinema so much that he decides to travel from town to town showing his collection of silent movies to the paying public. Pym not only faces opposition from ambitious and unscrupulous American rival Palmer (superbly played with smooth assurance by Rod Taylor), but also has to contend with an array of mishaps that beset him on his journey across the country.

Director John Power offers a flavorful evocation of the period, keeps the enjoyable and episodic story moving along at a steady pace, and maintains a pleasant tone throughout. Joan Long's sharp script draws the colorful characters with considerable warmth and depth as well as delivers a well balanced proportion of amusing humor and touching drama. Moreover, it's acted with real gusto from an enthusiastic cast, with especially praiseworthy contributions from John Ewart as hale'n'hearty pianist Freddie, Harold Hopkins as Pym's resourceful projection son Larry, Sally Conabere as the sweet Lucy, Garry McDonald as the weaselly Lou, and Jelena Zigon as sultry gypsy fortune teller Madame Cavalli. Peter Brest's handsome cinematography makes the most out of the picturesque outback locations. Geoff Burton's jubilant and harmonic score does the toe-tapping trick. A charming delight.

This is a cheery film about the tough life of the people who brought entertainment to the far-flung rural towns in the 1920s, and it succeeds due to a wonderful cast of some of Australia's best 70s actors, together with a script that speeds the story along to the next stage without crossing all the t's along the way.

This is veteran character actor John Meillon's one lead role, and he breathes life into his character of Pym, the leader of the troupe, with his usual mix of humour, pompousness and vulnerability. He is well supported by the handsome Harold Hopkins, as Pym's son Larry, and John Ewart who plays Freddie the feisty pianist with an eye for rural women. Freddie joins the pair when their previous pianist, played by comedian Garry McDonald defects to join Pym's competitor Palmer, played by veteran Rod Taylor who returned from Hollywood for a rare Australian film.

The cast is rounded out by some local women they encounter: the widow Mrs Duncan (Jeanie Drynan), the cheery Lucy (Sally Conabere) who befriends the shy Larry, and her sister, the artistic dance teacher Miss Lockhart (Judy Morris).

It's a light-hearted and affectionate film of the tough life of these early showmen. The team overcome a number of near-disasters that could have ended their enterprise, but soldier on.

A truly wonderful, thoroughly enjoyable,movie.

Meillon's performance as Pym, is the best occupation and portrayal of a character I have seen.

Much as Richard Harris WAS Bull McCabe in,"The Field", Meillon isn't acting as the picture show man, he IS The Picture Show Man.

In a magnificent characterization, Meillon portrays Pym's self important, sometimes arrogant bravado, and indignant, self righteous braggadocio, flawlessly.

His thinly disguised fragility, self doubt, sensitivity, sadness and feigned confidence, contrast with his determination, tenacity and undeniable,indefatigable optimism, perseverance and indomitable spirit, in the face of continual adversity.

Pym's aggrandizement of both himself and his "magnificent" enterprises, knows no bounds. He has grandiose, but seemingly to all others, forlorn and futile plans for bigger and better things. "If he gets the right proposition"

His self perceived guile comes to the fore when he charms, but dismisses, the inept potential female pianist. And then converts the negative factors he used to dissuade her, to positives, to enchant and attract the excellent male pianist.

Throughout, he tries to seem "on top of things," when all evidence points to the opposite. He disregards and denigrates the "modern", especially those wretched cars and dangerous electricity.

It seems that the life of the picture show man, Pym, has been dogged by a series of setbacks and failures, but undaunted and undiminished, on he strives. This unconquerable enthusiasm and childlike hope for better things and success, are just some of the traits that make Pym so endearing.

I wish we knew what happened between him and Mrs Pym. I sense it was sad.

He tries to hide his softness and weakness with bluff and bluster, for example the race horse incident. But Meillon's brilliant, melancholic face, great timing and superb acting, showed the character's real feelings of sadness, hurt, care and remorse.

Pym's softness, naivety and gullibility are never more evident than in his dealings with the "fairer sex." In spite of his very best endeavors using "his" form of charm, things turn sour, when, as in his business dealings,he is confronted by those far better at "playing the game."

The supporting cast is fantastic, with Hopkins playing the awkward, naive, reticent, mildly brow beaten, but loving son. Taylor as the upstart "Yank," who Pym taught everything to, is exceptionally good.

John Ewart is absolutely superb in his role as the cheeky, confident bright, cheery, talented, loyal, pianist.

The story is a lovely, gentle, rolling, period yarn, and the footage of country Australia is wonderful. The accompanying music is fantastic. Again, Meillion's performance in the songs he sings ranges from hilarious to bitter, sweet poignancy. With "Tap Tap on my window," being a classic case of the latter. In reality he is a broken down old song and dance man at heart. A throw back to Vaudeville or dance halls.

I am Australian, and not one to gush over movies, but I thought this movie was wonderful in every regard. I heartily recommend it.