Money Movers

Money Movers is another highlight of Australian cinema of the 1970s. It is overshadowed by the more successful Mad Max and failed at the Australian box office when released.

This heist thriller is more inspired by British movies such as Get Carter or television shows of that era such as The Sweeney.

Brothers Eric Jackson (Terence Donovan) and Brian Jackson (Bryan Brown) work as security guards for Darcy's Security Services.

They plan to rob their own firm but crime boss Jack Henderson finds out about their plan and wants a big cut. He also plans to have them killed once the job is done.

Leo Bassett is an insurance agent who has gone undercover as a security guard suspecting something bad is about to take place. Dick Martin is a disgraced ex cop who gets a second chance at Darcy's.

Director Bruce Beresford has made a tough thriller adapted from a novel. You can sense there is a complex plot here as the disparate elements of the story start to converge.

The movie also explores police corruption. With all the subterfuge and double crosses, it has a ferocious bloodsoaked finale.

As an armored car rolls over the iconic Sydney harbor bridge Bruce Beresford establishes the location for what is otherwise a non site-specific heist story that attempts to quell the omnipresence of urban malaise. Quickly paced cross cutting alludes to the monetary volume of the armored car's destination, a security firm owned by Lionel Darcy (Frank Wilson). Who doesn't want a piece of that action? Immediately, the viewer is oriented with the network involved in the movement of Australian currency and, subsequently, the number of hands the bills pass through. Laundering beckons. A screenplay loosely based on the 1972 work of Donald Minchin, Beresford blends the framework with a true crime story, credited in the opening sequence. The camera meanders through the blue-collar operation floor and driver's depot to settle behind the closed doors of the technocrats. After being shaken down by local crooked cop Sammy Rose (Alan Cassell), Lionel Darcy receives an anonymous tip from his object of a secretary, a warning that his firm is soon to be hit, worrying more than just the boss.

Eric Jackson (Terence Donovon) his brother Brian (Brian Brown) and a mate (who could be mistaken as their father) Ed Gallagher (Ray Marshall) have been planning an inside job for almost five years. These Ockers aren't going allow some "poof" to rock up asking where his piece is? They have their own suspicions regarding the culprit, new employee Leo Bassett (Tony Bonner). The amateur sleuths plan to initiate the rookie as means to their own ends, a true mask for self-interest. Other than Beresford's introduction to operations and interest groups, there exists no further marring of public and private, each character riddled with the presence of corruption. Any further duality is developed through action, the result governing over whether he becomes victimized or acts as victimizer.

The first "action" is a mob hit on a Darcy's armored car, fisticuffs ending in a shotgun blast so visceral, it alone warrants the 18+ rating. Was it the mob that sent the letter? When the press gets word of the heist, the ensuing public relations blunders solidify the ineptness of corporate crisis management, foreshadowing further assaults on the company. Local crime boss Jack Henderson (Charles 'Bud' Tingwell) obviously wants a piece of the action. The Ockers have spent so much time planning that they rebuilt a custom armored car for heist day. What about they new guy? The fraternity amongst interest groups ranges from professional to amateur, each camp knowing full well that "if someone was to rip the joint off if would be done from the inside."

Beresford deconstruct the effects of money and subsequence on business, personal and family relations and presents it in a classic plot design that makes the stigma of the "who done it" malleable. Money Movers asks who's going to do it? "I remember that one," says Brian Brown. "I had done a couple of movies, and got to read the part for the cop, but knew I wasn't anything like him." Asking which part he preferred Brian told Bruce that he "...could play the brother, but I knew it had been cast. It had been cast." Two hours later Brian got his wish, cast as Brian Jackson, along side Terence Donovan, the brother to the leading role. "I was young, too much of a kid play the gritty cop, but the brother," remembers Brian, "I could do that."

The official line on Money Movers has tended to focus the fraternity between male characters and "their" women; secondary objects who legitimize their function by getting coffee or being a lamb and leaving the room when business is on the table. It appears as if little within the genre, certainly in terms of gender relations, has been revised in the last twenty years. David Caesar recalls that like most heist or crime genre films, "...it's important not to pretend otherwise, it's a guys film. Money Movers is a good film, an underrated film that not enough Australian's have seen." The fraternity in Money Movers, the "boys club" mentality, has acted as a catalyst for many of the generic successes that are popular today.

Watching Money Movers is only possible on VHS at this point. Its structure popularized the Australian crime film with undertones present in Hollywood films such as Michael Mann's Thief, 1981. Money Movers houses a subtext that most viewers can relate to, which is why a reprise warrants further research. Wouldn't it be nice to have all that money? How would my life be different...surely for the better? Bruce Beresford showed, with eloquence, how this idealism could backfire, without the cynicism often associated with the down and out, or the stereotypes of big business or organized crime. As such the film is an important landmark on Australian cinematic spectrum for, as Brian Brown concludes "it was a fun movie to do, and now that we are doing quite a few crime genre movies like Chopper and Dirty Deeds, it was really Money Movers that first put us into that sort of territory."

Brian Brown and David Caesar interview by Ashley Allinson on September 11, 2002 in Toronto.

Running Time: 94 minutes Video Release: July 2, 1991 Distributed by: Roadshow, Imperial Entertainment Corporation

Cast: Terence Donovon: Eric Jackson Ed Devereaux: Dick Martin Tony Bonner: Leo Bassett Lucky Grills: Robert Conway Alan Cassell: Sammy Ross Frank Wilson: Lionel Darcy Candy Raymod: Mindel Seagers Bryan Brown: Brain Jackson

Crew: Bruce Beresford: Director Matthew Carrol: Producer Donald McAlpine: Director of Photography David Copping: Art Editor William Anderson: Editor

One of the most under-rated Oz films of all time!, Brilliantly directed by Beresford it was superbly cast and scripted.

Ray Marshall appeared in every scene with a cigarette, and lucky Grills appeared in his normal quota of beer drinking scenes. Not to mention the use of profanity which is normally associated in the workplace which gave the natural realism. Also the plot which assumed that OZ coppers are completely bent really added to the authenticity.

And not to mention half the cast of Skippy the Bush Kangaroo being involved in a climatic shootout, BRILLIANT!!!!

The story of an armored car robbery, apparently based on a true case. The acting is solid and the action, especially for a small budget film, is deftly handled, There are a number of good twists and turns along the way.

On the other hand, there's a bit of a feeling something's missing, like a unifying theme or underlying ideas. Or even character development.

Unlike (for example) Ben Affleck's recent The Town", this is a pretty simple film, just telling you an exciting story as solid B movie entertainment, and not aiming for much more. But there's certainly room for that alongside more 'thoughtful' or character orientated crime flicks.

Well shot, well directed by a young Bruce Beresford, and worth seeing if you're a fan of the genre.

In between wowing international audiences with 'The Getting of Wisdom' (1977) and 'Breaker Morant' (1980) Bruce Beresford shot this raw, extremely violent little crime drama with a high body count shot mainly in Adeleide. At the time it swiftly vanished without recovering even it's tiny budget, but deserves to be much better known.

It has a much bloodier climax than 'Reservoir Dogs' and laced with that dry humour one associates with even the grimmest Australian movie; as when crime boss Bud Tingwell wearily tells a henchman to "bring in the nail clippers" when simple persuasion isn't working.

(When I originally saw it I loved the music. So I should. It turned out to be the Adagio movement from Bartok's Music for Strings, Percussion and Celesta.)