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Byron Shire
March 5, 2021


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New Greens team

Matthew O’Reilly President of CABS and a proud member of the NEW Byron Greens team It seems that some readers have...

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Shores United win local derby in season opener

Shores United FC began their season in the Anzac Cup B football competition with a 3-1 win over local rivals the Mullumbimby Brunswick Valley FC last Sunday.

Tweed Council staff’s delegated powers debated

The question of what staff and councillors get to decide in relation to development applications was raised by Tweed Councillor Ron Cooper at the last Tweed Shire Council meeting.

The amazing world of seeds

Hilary Bain If it wasn’t for seeds and plants, we humans, along with all the animals, birds and insects would...

Random Mullumbimby breath test leads police to cannabis and ketamine

Police say that a random breath test in Mullumbimby has led to the seizure of cannabis and ketamine.

Rape, the law, and naming the man responsible

David Heilpern tackles key questions relating to the allegation of rape by a cabinet minister.

Taxpayers paying through the nose for the destruction of Casino to Murwillumbah train line

Louise Doran, Ocean Shores  On 14 January, 2015 The Echo comment ‘Railroaded’ quoted Don Page’s (Nationals then MP for Ballina) 2004...

We’re forever being told by art doyens that Australians (like any other people) love seeing their own stories on the screen. So how come when a cracking good local movie like this comes along, one that uniquely belongs to ‘us’, it sinks without trace? Compare its dismal box-office fate with the runaway success of the dreadfully unfunny A Few Best Men, which was no more than a crass copycat rom-com cast from an imported template, with an overseas star thrown in to give it legs. Weep for the Oz film industry.

This opens in Sydney, 1960, as Kat Kelly (Robyn Malcolm) flees her abusive husband. Taking her two sons, she heads west to settle in a coastal town in the Margaret River region. The action then jumps to 1972, by which time the boys, Andy (Myles Pollard) and Jimmy (Xavier Samuel), have grown up to be surf-rats. The shot in which the kid Jimmy is engulfed by a wave only to re-emerge, still on his board, as the flamboyant teenager takes us from the past to the present, from B&W into colour – and it’s spine-tingling.

The siblings’ relationship is at the film’s core, with Andy ambitious and responsible, and the younger, headstrong Jimmy always likely to run off the rails. When the hippy JB (Sam Worthington) turns up in his merry prangster bus, with the Hawaiian beauty Lani (Lesley-Ann Brandt) under his wing, stuff starts to happen. Directors Ben Nott and Morgan O’Neill sensibly don’t shy away from the drug culture that so permeated their subjects’ lifestyle, as prejudice and crime force idealism to come to terms with pragmatism.

There is a tendency – it’s rampant these days – to over-use pop songs to create mood, and sometimes the words get in the way as dialogue gets clunky and needlessly declamatory, but the performances are ingrained with a true understanding of the characters, the period is recreated with affection rather than condescension and Geoffrey Hall’s camera is always exhilarating in a surf movie that rises above its genre.

John Campbell


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