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Gâday Gertie: Star! debuts Down Under Â
After its global premiere in London and subsequent release to select international markets such as Japan, the Julie Andrews mega-musical Star! made its way to Australia in early-October 1968, fifty years ago this week. Release patterns for films in this era could be a little idiosyncratic, and the Australian release of Star! was no exception. The film was treated to two lavish âpreviewâ premieres in Sydney and Melbourne on October 4 and 8, respectively, but didnât open to the general public till October 24 with a premiere roadshow engagement at Melbourneâs Paris Theatre. Even more strangely, Melbourne was the only Australian city to screen Star! for the first six months. The film didnât open in Sydney till 23 May 1969 with other Australian cities to follow.*
The three previous Julie Andrews film musicals ââ Mary Poppins, The Sound of Music, and Thoroughly Modern Millie ââ had all been major hits in Australia with Millie and Music still in theatrical release when Star! opened in late-1968. In point of fact, The Sound of Music enjoyed longer roadshow runs in Australia than anywhere else in the world: 181 weeks in Sydney (140 at the Mayfair before transferring to the Paris for a further 41 weeks), and 178 weeks in Melbourne (140 at the Paris, then transferring to the Esquire for a final 38 week run). By 1968, it was estimated that just under half the national population had seen The Sound of Music with more to come as the film entered suburban and regional release (Dale: 15; Keavney: 4-5).
As a result, Twentieth Century-Fox had high hopes Star! would do well in Australia and sent director Robert Wise on a special PR trip to the country to help launch the film. Accompanied by his wife, Patricia, Wise touched down in Sydney on 31 September 1968 where he was treated to a round of civic and industry receptions before officiating at a special gala invitation-only premiere of Star! on October 4 at Sydneyâs Mayfair Theatre, home to The Sound of Music for so many years  (âNew Boomâ: 18). The following week, Wise flew on to Melbourne for the second Australian premiere at the Paris Theatre, another Sound of Music alma mater, on October 8. While in Melbourne, Wise gave a host of press interviews and even helped the Lord Mayor lay a plaque for a new $4-million cinema complex in the city (Messer: 8; see also, Bennett: 14; Musgrove: 2; Veitch: 18).
As with the UK response, Australian critical reception of Star! was generally very positive. In Melbourne, Howard Palmer of The Sun wrote:
âStar! the Julie Andrews epic is indeed one of those films that a critic sees with relief, because he can let his his hair down and quite safely say it is wonderful in every way...Wise has put theatre on the screen better than anyone else before him...Julie Andrews gives the drama of the Lawrence love affairs so well...Add to this the many comic scenes of her early career....and you have a complete actress...Itâs a wonderful film not to be missedâ (27).
Alec Martin of the Melbourne Truth was equally enthusiastic:
â[I]f Gertrude Lawrence was alive today she would be the first to whistle and  stamp her feet at...Miss Andrewsâ brilliant performance in Star!...Miss Andrews sheds her wholesome Mary Poppins and Sound of Music image to play the glamorous, temperamental Gertrude Lawrence with perfection....Star! will be a box-office success, thatâs for sureâ (39).Â
Ronald Conway of Melbourneâs The Advocate declared Star! â[a]n agreeable, civilised musical...Julie Andrews sings and acts splendidly and it is a relief to see her in something other than Sound of Music which lasted at the Paris for ever so long...A handsome production to be enjoyed by patrons of all agesâ (20). While Kay Mealun of The Australian Womenâs Weekly gushed, âI found it rich and big and happyââ could have sat it through, three hours and all, all over again right awayâ (56).Â
Not all Australian reviews of Star! were as unreservedly laudatory, though even naysayers conceded the film had charm. Colin Bennett of The Age wrote that Star! âis well set in theatreland and reproduces...a series of splendid old favourites performed to perfection by Julie Andrews who looks fabulous and sings beautifully...But [she] lacks the bite of a Gertrude Lawrence. She is too fundamentally âniceâ and tasteful and efficient to be really insolent or bitchyâ (6).Â
In a similar vein, Valda Marshall of The Sun Herald wrote:Â
âStar! is like an unrealised and long-forgotten musical script of the 30s...a conglomeration of vaudeville numbers, revue material and musical acts...It lacks a central sustaining interest [and] the star herself is without a unified character...Julie Andrews is...in top form. Her voice is as sure and strong as ever. Her acting still has the same unabashed directness and warmth. But the spark of mischievousness and spontaneity are missingâ (87).
Charles Higham of the Sydney Morning Herald ââ who summarily titled his mixed review, âJulie glitters but she isnât Gertie Lawrenceâ ââ declared Star!  âa carefully made picture...with fine dramatic moments [but] there is something tame and bloodless about it...Julie Andrews in the title role...brings a brittle professionalism and impeccable coldness to a part that demanded vulnerability, anguish, a maddening neurotic edge. Impossible to imagine this athlete of the musical screen missing an appointment or failing to pay a bill, falling hopelessly and foolishly in love or singing out of tuneâ (6). Still, Higham mused in another column, â[o]ne hopes Sydney audiences will respond warmly to this very well-made filmâ (Higham: 19). Â
And, for the most part, Australian audiences did respond with comparative warmth to Star!. While the film didnât score anywhere near the record-breaking success of The Sound of Music, it enjoyed respectable theatrical runs, playing in roadshow release in Melbourne for just under six months (23 weeks from 24 October 1968-26 March 1969) and in Sydney for five months (20 weeks from 23 May 1969-9 October 1969), two of the longest roadshow runs of Star! anywhere outside London (Davies: 198. 206; Louden: 6).Â
Star! also went on to a fairly solid theatrical after-life in Australia. The film avoided the debacle of post-release editing that occurred in North America and the full roadshow print screened in residual first release in suburban and regional Australian markets well into the early-70s. Star! even ran as a 70mm double-feature with Hello Dolly at Sydneyâs Village Cinema City in late-1974. The film continued to pop up intermittently in subsequent years in repertory screenings. It played several times throughout the 1970s and 80s at Sydneyâs Ritz and Mandarin cinemas. The National Library in Canberra hosted a special archival screening of Star! in March 1980, and the film was given a lavish one-week showcase season at Melbourneâs Astor Theatre in November 1998 to celebrate its 30th anniversary.
Star! was also a frequent feature on Australian TV screens. It made its national small screen debut as the Sunday Night Movie of the Week in October 1973 and was rebroadcast every few years thereafter: 1975, 1979, 1980, 1981, 1986 and 1989. As far as can be ascertained, the first two broadcasts were edited for running time, but most later broadcasts appear to have been the 176 min. roadshow release.
Notes:
* In a sign of the times, the delay of the Sydney release of Star! was due to the unexpected success of The Graduate which had been booked in to the Mayfair, Sydneyâs âhomeâ of Todd-AO roadshows. The theatreâs previous roadshow offering, Doctor Dolittle, closed earlier than anticipated and The Graduate was scheduled as a âfillerâ ââ it ended up running at the Mayfair for 11 months (Louden, 6).
Sources:
Bennett, Colin. âBox Office Wisdom.â The Age Saturday Magazine. 5 October 1968: 14.
________. âNew Films: Star.â The Age. 28 October 1968: 6.
Bishop, Barbara. âJulie Misses the Point.â The Sun. 25 October 1968: 14.
Conway, Ronald. âStar.â The Advocate. 31 October 1968: 20.
Dale, David. âThe Tribal Mind: What Australians Love the Most.â The Sydney Morning Herald. 12 February 1999: 15.
Davies, Keith. 50 Years of Cinema and Movieâs in Melbourneâs CBD (1940 â 1989). Melbourne: (n.p.), 2016.
âFilms on TV.â The Age Green Guide. 21 December 1978: 8.
Higham, Charles. âStar-Maker.â The Sydney Morning Herald. 5 October 1968: 18.
________. âTurmoil in Film City.â The Sydney Morning Herald. 24 May 1969: 19.
________. âJulie Glitters but she is not Gertrude Lawrence.â The Sydney Morning Herald. 26 May 1969: 6.
________. âFilms like Mother Used to Cry Over.â The Sydney Morning Herald. 21 June 1969: 17.
Keavney, Kay. ââThe Sound of Musicâ Greatest Film Bonanza.â The Australian Womenâs Weekly. 36: 1, 5 June 1968: 4-5.
Louden, Doug. Sydney in 70mm. Sydney: (n.p.), 2016.Â
MacDonald, Dougal. âJulie Never Stops Being Julie.â The Canberra Times. 28 September 1969: 30.
Marshall, Valda. âItâs a Happening World: Star!â The Sun-Herald. 25 May 1969: 87.
Martin, Alec. âShe is the True Star.â The Melbourne Truth. 2 November 1968: 39.
Melaun, Kay. âJulie as Gertrude.â The Australian Womenâs Weekly. 36: 20, 4 December 1968: 56.
Messer, John. âFrom Horror to the Sound of MusicââThatâs Wise.â The Age. 8 October 1968: 8.
âMovies on TV.â The Sydney Morning Herald: TV Guide. 12 May 1975: 1.
âMovies on TV.â The Sydney Morning Herald: Monday Guide. 27 March 1978: 3.
âMovies on TV.â The Sydney Morning Herald: 7-Day Guide. 29 January 1979: 3.
âMovies on TV.â The Sun-Herald. 15 April 1984: 84.
Musgrove, Nan. âTwo Women on His Mind.â The Australian Womenâs Weekly. 36: 20, 16 October 1968: 2.
âNew Boom for Star Musicals.â The Sydney Morning Herald. 1 October 1968: 18.
Palmer, Howard. âJulie Proves It.â The Sun Weekend Magazine. 26 October 1968: 27.
âSunday TV.â The Age TV-Radio Guide. 30 March 1975: 8.
âTelevision.â The Age. 3 April 1980: 2.
âTelevision.â The Age. 28 August 1981: 2.
âTelevision.â The Age. 21 January 1989: 18.
âTodayâs TV.â The Sun-Herald. 21 October 1973: 71.
Veitch, Jack. âWhy Robert Wise Doesnât Need to Work Again.â The Sun- Herald. 6 October 1968: 18.
âWhat Was the Name of that Film?â The Age. 8 October 1968: 16.
Copyright © Brett Farmer 2018
Managed to fit in a game before the movie. #aliensarmageddon #thepredator #hoyts #bluckyandsons #Melbourne https://www.instagram.com/p/BnqjctRn9i4/?utm_source=ig_tumblr_share&igshid=1r4x35dkgazxp
At the movies waiting to see A Star is Born.
Here at #HoytsRiccarton watching the midnight screening of #StarWars #TheLastJedi! #hoyts #cinema #movies #lukeskywalker #rey #finn #poedameron #kyloren #sequel #tlj (at Hoyts Riccarton)

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'The Red Pill' is a film directed by Cassie Jaye. The film is an attempt to legitimize MRA (Men's Rights Activists) groups and the claims they make. MRA groups however predominantly feature misogynistic rhetoric. They also have racist and anti-LGBTQ+ tendencies. The "rights" they wish to protect predominately...
EDIT 15/5/17:
@dickslapthestateâ let me know I made a mistake by conflating /r/theredpill and PUAs with the communities discussed in âThe Red Pillâ â hereâs a quote from Cassie Jayeâs October 2015 AMA on the documentaryâs title:
my filmâs title is not referring to TRP subreddit, it is in reference to its original popular culture usage (which is used my many other groups and conspiracists as well, it is not owned by the subreddit).
I acknowledge and apologise for this conflation in my original post (unedited, below). Certainly, it weakens the validity of my criticism. I stand by my opinions on the toxicity of MRA rhetoric, but I respect the importance of using accurate terminology when being critical, so Iâm grateful to everyone who educated me on the differences between MRA/PUA/TRP/MGTOW.
***
Hey, this is a petition a dear friend of mine made, please sign if youâre as tired as I am of the normalisation of toxic masculinity.
'Hate groups masquerading as a rights movement' hits the nail on the head. I was on Reddit during /r/theredpill's early days; visiting its forums and reading their discussions made me afraid for myself and all the other young internet-going people I cared for, especially my younger brothers. Supporting discourse on gender politics is important, but that is not what MRAs have ever done or tried to do. /r/theredpill users had a large overlap with PUA (pick up artist) and 'incel' ('involuntary celibate') forums, which rallied around silly and backwards "evolutionist" attitudes to sexuality, misapplied gender politics, and disturbing narratives about people's romantic and sexual needs, all of which ignored or degraded the LGBTQ+ community and vilified women. TRP is just another toxic Reddit group ""founded on"" ""logic"" and ""reason"" that, really, is fueled by the fear of people, esp. men, who have fallen prey so deeply to outdated expectations re: sexual "conquest" and "keeping" women that they channel all their intellectual energy into strengthening and achieving instead of fighting those expectations. It's a sad existence as well as a dangerous one, and absolutely not one that should be legitimized and shared through film.
Men's and masc-identifying people's welfare does need and deserve a space in gender politics discourse but that is in no way what MRAs attempt or achieve.
Two different Supergirl posters. Same cinema. LOCKED IN. JUNE 25!
i'm actually bawling my eyes out rn lmao /vpos