A lust for gritty, seventies Australiana was quenched by this gem. It's not for everyone and clearly unapologetically so.
Director Phillip Noyce who also created the classic flick, Clear and Present Danger 1994 and another classic Aboriginal cultural issues flick, Rabbit-Proof Fence 2002 has created another 60 minute gem in Backroads.It stars the late legendary Bill Hunter who has also been in other classic flicks, Gallipoli 1981, Mad Dog Morgan 1976, Every night Every night 1995, Blue Murder 1995, Stone 1974 and the television series Spyforce 1971-73.
But sadly the rest is not as great. A weak and typical script, really poor acting (with the exception of Resines, of course) and bad, bad description of the time (the 70's, just before Franco's death) and the characters (especially the women).
Having recently seen and commented on `La Buena Estrella' which turned out better than expected, I thought I would check out `Carreteras Secundarias' when it popped up on the little screen a few nights ago, again coupling Antonio Resines with Maribel Verdú and adding Miriam Díaz Aroca for good measure; though frankly there is not much to measure. The two young ladies mentioned only had to be sexy little playmates for the errant husband (Resines) travelling around with his son (Fernando Ramallo) trying to make a living from what might be called itinerant selling but is best in Spanish `trapicheo'.
I think. Watching this film I can't help thinking that it is an allegory of the social history of this country.
I just watched this film on APTN the other night and I will say that it was well done. It's a real crying shame that Ms.
We stomached about 30 minutes of this silly film.I'm all for finding new, raw 'talent' and dealing with 'reality'.
Early effort from director Noyce dealing with an Aboriginal and a white man on the road to self destruction. It brings up important issues on racial relationships in Australia but not enough time was given to this important topic.
This movie reminded me of EASY RIDER. While not documenting the emergence of a freer counter-culture or revealing the shortcomings of contemporary society, it flowed on similarly as a thoroughly fluid road-movie that sought to uncover deeply-engrained prejudices that still persist, even latently, in attitude formation: black or white.
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